Martha Rosler's "in, around, and afterthoughts"
a "seminal, brutal critique of documentary photography" (1981)
"Rosler's essay portrays documentary as an untenable practice: to look at and record the real world, unmediated, is to run the very high risk of victimizing a second time those already victimized by social injustice" (49)
Davey argues that "[m]uch of the staged, directed, and patently constructed [photographic] work of the '80s and after, whether it's of a critical nature or not, is underpinned by Rosler's critique"