Describe the different ways we can consider authorship in the works of Seydou Keïta and how they have evolved over the life of the photographs.

What does Barthes mean when he says about The Family of Man exhibition that “[e]verything here, the content and appeal of the pictures, the discourse which justifies them, aims to suppress the determining weight of History…”? What is wrong with that? Based on John Szarkowski’s history, can you defend Steichen and his exhibition against this claim?

In what ways, according to Anne Wagner, do Warhol’s Race Riot paintings function as history paintings, as we defined the genre early in the semester?

Compare Anne Wagner’s reading of Warhol’s work with the artist’s own description of his intentions? Are they in conflict? Which do you give more credence to, and why?