New York

Andrea Robbins & Max Becher

Basilico Fine Arts

There can be no doubt about the incisive precision—worthy of the best work of Walker Evans—with which Andrea Robbins & Max Becher edited and sequenced their latest collaboration, a 1994 series of scarcely thirteen photographs of the concentration camp at Dachau. Since 1986, the two have positioned their projects within the vocabulary of documentary and Neue Sachlichkeit photography while critiquing the legacies of both; investigating the tensions between word and image, they continually turn for subject matter to the intersection of global tourism and the increasing desire for an aesthetic of historical commemoration. The “Dachau” series can perhaps be read as the summa of Robbins & Becher’s concerns, focusing as it does on the current attempt to transform into tourist memorials the very sites and events that have thrown the concept and traditional logic of History—thought of as progress,

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