The digital age has caused a peculiar problem: Out of an excess of images, information, and memories, one has to select and preserve what seems valuable. The exhibition “Anna-Sophie Berger: Places to fight and to make up,” can be understood as a formal analysis of the specific subjectivity that is confronted with this task. Indeed, while any set of subjective choices, and, hence, the subjectivity applied in the sorting-through of digital content, remains necessarily invisible and cannot be exhibited, Berger shows that it can be traced through various differences of semantic connotations. Thus