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.

Nature in America has always been suspect, on the defensive, cannibalized by progress. In America, every specimen becomes a relic.

So successful has been the camera's role in beautifying the world that photographs, rather than the world, have become the standard of the beautiful.

In America, the photographer is not simply the person who records the past, but the one who invents it.

Despite the illusion of giving understanding, what seeing through photographs really invites is an acquisitive relation to the world that nourishes aesthetic awareness and promotes emotional detachment.

Strictly speaking, it is doubtful that a photograph can help us understand anything.

All photographs aspire to the condition of being memorable - that is, unforgettable.