IN 1998, IÑAKI BONILLAS was a young assistant at a Mexico City photography studio when he began a series of projects that would come to be collectively titled Photographic Works. A dry label, certainly, but that factual tone accurately captures the deadpan delivery of the entire body of work: Each project aimed to document a particular aspect of photographic technology or procedure, from camera to film to developing lab and so on. Having shot through a complete roll of film, for example, Bonillas had each print developed at a different lab for Documenting Thirty-Six Photography Labs, 1998, while Documenting the Vivitar 2000 Camera’s Eighty-Four Possible Exposure Settings, 1998, methodically analyzed the subtle distinctions of light levels between blown-out highlights and crushed blacks. The systematic approach and neutral exploration of all possible variants within a delimited field clearly

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