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.

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.

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

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.

No longer do we accept the 'sublimation model' according to which 'the function of art is to sublimate or transform experience, raising it from ordinary to extraordinary, from commonplace to unique, from low to high'.

To convulse reality from within, to demonstrate it as fractured spacing, became the collective result of all that vast range of techniques to which surrealist photographers resorted and which they understood as producing the characteristics of the sign.

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.