put together unrelated things into a frame, which create a sense of juxtaposition, contrast, and context.

The role of the museum in forming contemporary photographic taste cannot be overestimated. Museums do not so much arbitrate what photographs are good or bad as offer new conditions for looking at all photographs. This procedure, which appears to be creating standards of evaluation, in fact abolishes them.

The limit of photographic knowledge of the world is that, while it can goad conscience, it can, finally, never be ethical or political knowledge.