By exposing the multiplicity, the facticity, the repetition and stereotype at the heart of every aesthetic gesture, photography deconstructs the possibility of differentiating between the original and the copy. [Photography calls] into question the whole concept of the uniqueness of the art object, the originality of the author, the coherence of the oeuvre within which it was made, and the individuality of so-called self-expression.

By exposing the multiplicity, the facticity, the repetition and stereotype at the heart of every aesthetic gesture, photography deconstructs the possibility of differentiating between the original and the copy. [Photography calls] into question the whole concept of the uniqueness of the art object, the originality of the author, the coherence of the oeuvre within which it was made, and the individuality of so-called self-expression.

Photography's vaunted capture of a moment in time is the seizure and freezing of presence. It is the image of simultaneity, of the way that everything within a given space at a given moment is present to everything else; it is a declaration of the seamless integrity of the real.

Here is a paradox. It would seem that there cannot be surrealism and photography, but only photography or surrealism.

More than a rejection or dissolution of the past, avant-garde originality is conceived as a literal origin, a beginning from ground zero, a birth.

The frame announces that between the part of reality that was cut away and this part there is a difference; and that this segment which the frame frames is an example of nature-as-representation, nature-as-sign.

Photographic cropping is always experienced as a rupture in the continuous fabric of reality.