Entering “The Yanomami Struggle” exhibition at The Shed in Manhattan’s Hudson Yards, I find myself standing before a vast arrangement of photographs, some crisp and hyperpigmented, others blurred and grayscale, all suspended from the ceiling as if parts of a room-size mobile. After a moment of taking in my new environs, the subjects of the closest set of imagery come into focus. To my left is a diptych of a lake overcast by a stormy sky and a boy floating face up along a cerulean-blue river. To my right is a black-and-white collage of children traipsing across a rainforest floor. Directly ahead of me is the most arresting photo of them all: a lush canopy of trees, all a psychedelic fuschia, with a thatch-roofed hut inlaid therein. The flourishing scenes before me are a far cry from the barren, wintery stretch of the High Line I’ve just walked along to get here. I’ve somehow traversed a portal, and have arrived in another world.