In Milan, thirty-six-year-old Francesco Jodice exhibited large photographs, taken in various metropolises, emphasizing details that would otherwise be lost within an urban scenario packed with thousands of potential images. Or he juxtaposed images shot in rapid succession, building sequences. His exhibition in Turin used photographs, texts, and maps to reconstruct a famous murder case in the upstate New York countryside—The Crandell Case, 2002–. He’d even taped witnesses’ accounts and created a map showing where the events took place, the way detectives working the case might. What is the common