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

Are we asserting the easy dominion of our civilization over all times and all places, as signs that we casually absorb as a form of loot?

How useful are documentary photographs if there is no follow up, no way of knowing what happened next in the story?

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.

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.)

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

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