Reality has come to seem more and more like what we are shown by cameras.

The "happening" operates by creating an asymmetrical network of surprises, without climax or consummation, this is the alogism of dreams rather than the logic of most art.

Photographs are perhaps the most mysterious of all the objects that make up, and thicken, the environment we recognize as modern. Photographs really are experience captured, and the camera is the ideal arm of consciousness in its acquisitive mood.

The whole point of Camp is to dethrone the serious. Camp is playful, anti-serious. More precisely, Camp involves a new, more complex relation to "the serious." One can be serious about the frivolous, frivolous about the serious.

What pornography is really about, ultimately, isn't sex but death.

The felt unreliability of human experience brought about by the inhuman acceleration of historical change has led every sensitive modern mind to the recording of some kind of nausea, of intellectual vertigo.

Travel becomes a strategy for accumulating photographs.