“Whoever appears in a photograph or whoever is glimpsed in its frame always stands in a certain set of relations with others. Neither the photographer who is invested with ownership rights over the photograph as object, nor the work of art constructed as the center of gravity of the discourse of art, are capable of erasing the photographed persons or any other participants in the event of photography from the civil space in which they are present and whose coming into being they demand from those who observe them.” – Ariella Azoulay, Civil Imagination: A Political Ontology of Photography