Readers of this blog undoubtedly know the received wisdom about the trajectory of Strand’s career. The son of Jewish immigrants who made good in retail trade (like Alfred Stieglitz, only Bohemian rather than German and less financially well-heeled), Strand enters the Ethical Culture School at fourteen and moves from Hine student and amateur photographer to Stieglitz’s protégé and exemplary modernist by 1915. After a traumatic stint as a conscientious objector during the war and the death of his mother, he juggles earning a living as a commercial filmmaker and advertising photographer with advancing his artistic career, still largely in the orbit of Stieglitz in the 1920s. The thirties see him taking stances as an activist, traveling to Mexico where he makes a film documenting capitalists’ oppression of local fishermen (Redes, 1934-1936), working with the Group Theatre and founding Frontier Films, visiting Moscow to meet with Eisenstein, and repeatedly signing petitions against militarism and growing fascism in Europe. Although the smoking gun of a FOIA file documenting Strand’s membership in the American Communist Party has never been found, there is ample evidence that his sympathies even through the Stalinist purges remained staunchly with those of the Party, as he understood it in 1930s America. His flight from the U.S. to France in 1950 cinches the case for Paul Strand as a victim of the McCarthy era, a good guy who stood up for artistic and political freedoms.