There's something quite magical that can happen when a secret is no longer a secret - or is a shared secret or a common secret. By allowing those boundaries to be porous, certain forms of oppression may be lifted.

I think that the role of curating an exhibition is to reanimate history and make it relevant to a contemporary viewer.

There's something quite magical that can happen when a secret is no longer a secret - or is a shared secret or a common secret. By allowing those boundaries to be porous, certain forms of oppression may be lifted.

Photography is, and has been since its conception, a fabulously broad church. Contemporary practice demonstrates that the medium can be a prompt, a process, a vehicle, a collective pursuit, and not just the physical end product of solitary artists' endeavors.

More platform-sensitive generations will make distinctions between online and in-person intimacy, whereas fourteen-year-olds have very nuanced online selves and might embody their virtual identity in the physical, analogue version of themselves. They have a much more pluralistic understanding of the self. I don't think we'd be here now in this amazing sexual and gender revolution without the online space where young people can see and share other versions of identity and sexuality.

Photography's relationship with pornography is as old as photography. That kind of unholy relationship is formed from the very beginning, and there's a reason why: it's thoroughly enjoyable to be that voyeuristic. Voyeurism is a very old modality, and most of the history of photography is in some way related voyeurism.

We are not only a civilization of amateur photographers; we are amateur curators, editors, and publishers.