Like German-born photographer Wolfgang Tillmans, who began his career documenting the European club scene for British magazines like ID and the Face (and now has a retrospective at the Hirshhorn Museum and Sculpture Garden), McGinley is an artist equally at home on the printed page or the gallery wall. After working for Index and Vice, McGinley graduated to the New York Times Magazine, which commissioned him to photograph Olympic swimmers in 2004, and this month his dreamy pictures of Kate Moss are featured in W. McGinley also does a good bit of advertising work—for Nike, Zune, Virgin Mobile, Verizon, and Puma, among others. There's nothing unusual about this; artists need to pay the bills. What's striking is how easily McGinley's signature style translates from one platform to the other. His shots of naked twentysomethings riding bicycles through the countryside mean more or less the same thing on the walls of the Whitney or in an ad for Puma. McGinley has essentially created a successful lifestyle brand—a stylish fantasy of youth, beauty, and hedonistic fun. It's great for selling sneakers and cell phones. But I think we can expect more from art.