On the day I visited Arthur Jafa’s exhibition at the Julia Stoschek Collection, Berlin, there was a woman dancing in the gallery. She hugged the left-hand wall of the second room, jerking her hips from side to side as if she were in one of the city’s many nightclubs.

The profile, from the Latin profilare, “to render in outline,” is today a pervasive form. The profile provides the conceptual unit of social networks, while to profile, for a magazine or by a law officer, signifies the act of reducing and distilling a person to a stereotype or sketch.

Photographer Lauren Greenfield’s Generation Wealth resembles base aspirational coffee-table fare. The book is bound in silky golden fabric, its spine like an ingot. On the front and back covers are pictures of luxury served up a variety of ways: an oligarch’s family; a rap star’s diamond-encrusted grills; gilt purses slung low on trophy wives’ toned arms.

In the late 1970s, artists Kit Galloway and Sherrie Rabinowitz brought together dancers in Mountain View, California, and Greenbelt, Maryland, for a bicoastal performance via satellite uplink.

The capacity of images to shift in charge and meaning is a central, and under-explored, strand of Marilyn Minter’s survey exhibition, mounted as part of the Brooklyn Museum’s “A Year of Yes” celebrating feminist art.