In three identical sets of twenty-five images, projected as slides in an endlessly repeated cycle, Allan Sekula’s Untitled Slide Sequence, 1972, depicts workers leaving the General Dynamics Convair Division aerospace factory in San Diego at the end of the day shift. Offering up the plenitude of information implicit in the American documentary tradition—a tradition that implies that by studying these records we might somehow come to know the workers and their individual stories—while at the same time withholding that gratification via the anonymity and homogeneity or homogeny of its