Photography is a perfect illustration of Friedrich Nietzsche’s contention that every concept originates by equating the unequal. Strictly speaking, only a techno-chemical process unites everything we refer to as “photographs.” The “promiscuity” of photography—its malleability and tremendously varied applications—tends, however, to be obliterated as soon as we approach the gallery or the museum. In most photo exhibitions the diversity, complexity, and social dimensions of photography are tempered in favor of a formal, esthetic, and apolitical approach. This medium of mass communication par