NEW DELHI.- Dayanita Singh’s latest body of work, entitled “House of Love,” is novelistic in its approach yet curiously elliptical in its multiple subject matters. For the first time in a single series, Ms. Singh has combined black-and-white with color photographs, images shot both in India and around the world, yet none are identified and all are allowed to be free-floating, tethered to one another only by the circumstances of “stories” in which they have been grouped (with individual titles such as “Continuous cities, “ “Theft in a cake shop,” “Departure lounge,” and “Being of darkness,” the nine “stories” ranging in groups as small as six and as large as seventeen pictures). Everything and all to be at the service of the book of the same name, Ms. Singh’s primary medium for her images and the unifying structure in which this diversity becomes succinct. The subjects of Ms. Singh’s pictures ran