The exposé, the compassion and outrage, of documentary fueled by the dedication to reform has shaded over into combinations of exoticism, tourism, voyeurism, psychologism and metaphysics, trophy hunting - and careerism.

Just going out on a foray to assemble a collection of street trophies about this or that running social sore can't be effective - and never was.

Any familiarity with photographic history shows that manipulation is integral to photography.

Photography [can] be seen as a system of representation that you bring to bear on other systems.

Take the Money and Run? Can Political and Socio-Critical Art ‘Survive’?

I was concerned with something like the notion of 'language speaking the subject,' and with the transformation of the woman herself into a sign in a system of signs that represent a system of food production, a system of harnessed subjectivity.

Documentary is a little like horror movies, putting a face on fear and transforming threat into fantasy, into imagery. One can handle imagery by leaving it behind. (It is them, not us.)