This posting on my part, while hopefully not solipsistic, might be selfish in another way. Actually, the solipsism of the photographic images I have been highlighting here might be characterized as their most central relational characteristic—we seem to face images of the most extreme instantiation of photography’s a-relational vocation, its anti-relational destiny. Photographic isolation. Photographic separation, non-communion, involution. This, at least, is the way I long thought of the prevalence of such images within photography history. From Strand to Sander to Model, the photograph of the blind subject seems to allegorize the condition of photography as a medium, the parameters of the photographic object—in what could be called a self-reflexive way, though surely not one modernism would be prepared to recognize, the opposite of a kind of super-vision or prosthetic eye. When it has to do with portraits, with people, with social scenes—but we could say the same of photographs of objects, any photographic visual scene—one stares at a subject that cannot return the gaze. The photographs of the blind underline this dynamic, making it palpable, unavoidable. As opposed to modernist painting and its triumphalism of vision, photographic vision—in this understanding—is precisely a masterful surveying of the blind object. We confront vision and its undoing simultaneously. With photography, we see without being seen, and the photographs of the blind spell this out, unseeing subjects placed before the all-seeing vision of the camera. In its pure asymmetry, the photograph of the blind achieves utter a-relationality. It is the purest structure of photography as voyeurism that one could imagine, surpassing perhaps even the pornographic photograph in this regard. But it spells out the structure of most photographs, most forms of photography’s aesthetic usage, whether documentary, portraiture, street photograph, or the like.