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<p> Presenting many unpublished photographs, Shifting Places gives occasion to consider this especially important category of the Peter Downsbrough's work. Some of the most beautiful images convey a sense of uncanny formalization, whereby the obviously deliberate framing of some particular element, such as the central zip of a center pole of a sunlit New York subway car (typically inferable as a row of several) allows, in a 1978 image, for seemingly fortuitous alignments of shadows, and compensations, more than contrived compositional balance, in the different distributions of elements, left and right. I love the resultant sense of unforced order, and so would Kant! -Joseph Masheck, Brooklyn Rail (February 2012)

<p> Presenting many unpublished photographs, Shifting Places gives occasion to consider this especially important category of the Peter Downsbrough's work. Some of the most beautiful images convey a sense of uncanny formalization, whereby the obviously deliberate framing of some particular element, such as the central zip of a center pole of a sunlit New York subway car (typically inferable as a row of several) allows, in a 1978 image, for seemingly fortuitous alignments of shadows, and compensations, more than contrived compositional balance, in the different distributions of elements, left and right. I love the resultant sense of unforced order, and so would Kant! Joseph Masheck, Brooklyn Rail (February 2012)

Presenting many unpublished photographs, Shifting Places gives occasion to consider this especially important category of the Peter Downsbrough's work. Some of the most beautiful images convey a sense of uncanny formalization, whereby the obviously deliberate framing of some particular element, such as the central zip of a center pole of a sunlit New York subway car (typically inferable as a row of several) allows, in a 1978 image, for seemingly fortuitous alignments of shadows, and compensations, more than contrived compositional balance, in the different distributions of elements, left and right. I love the resultant sense of unforced order, and so would Kant! Joseph Masheck, Brooklyn Rail (February 2012)

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Alexander Streitberger is Professor of Modern and Contemporary Art History at the Universite Catholique de Louvain (UCL) and director of the Lieven Gevaert Centre for Photography.

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