“Pictures have a knack for supplanting the concrete, sliding as though self-lubricating around the globe, like poltergeists, they haunt the world they represent like vague recollections, inhabiting concrete forms briefly until slipping off to another host, a billboard here, a magazine page there, creating momentary associations, and chance resonances,” artist Walead Beshty recently wrote. Frustrated by this tendency in photography, Beshty turned to Adorno to explore the ways in which images might be able to “reclaim moments of heaviness,” challenging photographers to engage the concrete. This