FOR THREE DECADES, Lyle Ashton Harris has been producing portraits, collage installations, and other works that demonstrate a voracious approach to art history. He devours photographic conventions and reconfigures them, calling attention to the charged intersection of race, gender, and desire. Harris’s “Ektachrome Archive” includes more than 3,500 personal photographs, made from 1988 through 2001, that display the sensuality and rigor singular to his work; Aperture’s new monograph Today I Shall Judge Nothing That Occurs draws nearly two hundred images from this series. Across these pages, Harris