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

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.

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

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.

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?

So much of my work involved the Vietnam War that it would have been obscene to show it in a gallery. But now, it’s different; it’s important to remember and to enable the young to discover what to some of us is still so present.

The question at hand is the danger posed to truth by computer-manipulated photographic imagery. How do we approach this question in a period in which the veracity of even the straight, unmanipulated photograph has been under attack for a couple of decades.