Marc Fischer is the administrator of Public Collectors an online archive dedicated to preserving cultural artifacts that don’t get attention from libraries, museums and other collecting institutions. Marc is known for organizing events and exhibitions around the Pubic Collectors archive, but even if you’re stuck behind a computer screen the collection of digital images and PDF scans of weird books and zines is truly one of the gems of the internet. I’ve spent many an hour looking at stuff like photo collections of vandalized cacti, an erotic comic about amputees, and a heart wrenching book of drawings of by atomic bomb survivors.

Photographer Meryl Meisler grew up on the South Shore of Long Island, and in the 1970s she began photographing her family, friends and neighbors around her suburban home town. As a photographer, Meryl is drawn to the antics of everyday life, and in her intimate and often hilarious photos we're treated to scenes like a man juggling cardboard boxes after the prom, her young cousin grimacing at the camera from atop a toilet seat, or an amazing image of a couple smiling to the camera from a bedroom decked out in butterfly print wallpaper and matching bedspread.

This week on Art Uncovered I talk with artist Sarah Rothberg. Her virtual reality installation Memory/Place: My House is part of the exhibition Memory Burn, on view now at Bitforms Gallery in New York.

If you lived in Romania in the 1980s and happened to catch a government sanctioned screening of a foreign film or TV show, your viewing experience would have been much different than someone watching in the West. Anything deemed western was cut: scenes with swimming pools, depictions of too much food, marital infidelity, freedom of religion. Even kisses could only last for three seconds on screen. The 80s were some of the harshest years for communism in Romania and the dictator Nicolae Ceausescu was considered one of the most brutal in the soviet bloc. The secret police kept tight control over all aspects of Romanian life and cinema was no exception.

This week on Art Uncovered I sit down with artist Eileen Maxson. Her new solo show at Microscope gallery in Bushwick is called I was really gonna be something by the age of twenty-three, and it's a collection of videos, objects, and installation pieces based on the classic 90s film Reality Bites. In our interview we talk about Eileen's experience growing up in Houston, where Reality Bites is set, and how the film's central conflict of corporate culture vs. authentic artistic expression has manifested itself in the 21st century.

Michael Kamber is a veteran photojournalist and founder of the Bronx Documentary Center. His is also co-curator of the BDC's new exhibition Altered Images: 150 Years of Posed and Manipulated Documentary Photography.

The show comes at a time when Michael says the photojournalism profession faces a "crisis in credibility," as illustrated by numerous high profile incidents of photographers staging images or manipulating their pictures excessively in photoshop. Just last year judges of the prestigious World Press Photo competition disqualified 20% of their semifinalists for altering their photographs. In this years competition the photographer Giovanni Troilo was disqualified for staging a photo of his cousin and his girlfriend having sex in a car.

Artist Danielle DeJesus was born and raised in Bushwick. About ten years ago, when she was in high school, she realized her neighborhood starting to change, starting to gentrify. She noticed "bodegas turning into swanky bars, supermarkets blaring english rock music instead of salsa", and her mom was getting calls from landlords offering her cash to move out of her apartment.

In Japan 3/11 refers to the earthquake, tsunami and meltdown off the Fukishima nuclear power plant that occurred on March 11th 2011. That day the deadly tsunami wave killed more than 15000 people and radiation from the nuclear plant has left large swaths of land uninhabitable to this day. In The Wake explores how Japanese photographers have addressed the large scale death and distruction, as well as the impact it's had on the Japanese psyche. The images in the show range from annonymouse family photographs, to images that speak to Japan's complex history with nuclear energy.

This week on the show, artist Jessamyn Lovell talks about photography, surveillance and what it was like tracking down the woman who stole her identity. Jessamyn's work is currently on view at CENTER in Santa Fe and SCA Contemporary in Albuquerque. Her new book, in which she chronicles her efforts to find her identity thief, is available now from SF Camerawork.