This essay reconsiders the photomontages that Martha Rosler began making in the late 1960s to protest the war in Vietnam. Typically understood as a means of protest against the spatial mechanics of domination—against the mediated production of the difference between the home front and the war front or the “here” and “there” that drives modern warfare—the photomontages, this essay argues, also engage the temporal politics of protest. The problem of how to be “in time,” “to be present,” the problem that frames street photography and its critical history, is at the center of this essay and, it contends, Rosler’s protest. By drawing out this critical framework, this essay addresses the still-urgent questions that Rosler’s photomontages pose: When is the time of protest? Does protest happen now? Is there still time for protest?

中文翻译：

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玛莎·罗斯勒的抗议

本文重新考虑了玛莎·罗斯勒（Martha Rosler）在1960年代后期开始为抗议越南战争而制作的蒙太奇照片。这篇文章认为，通常将其理解为抗议统治的空间机制的一种手段，这是对家庭阵线与战争阵线之间的差异或驱动现代战争的“这里”与“那里”之间的差异的介导产生的。也参与抗议的时间政治。如何“及时”，“在场”的问题是构成街头摄影及其批判历史的问题，是本文的重点，并主张罗斯勒的抗议。通过提出这个关键的框架，本文解决了罗斯勒的照片蒙太奇提出的仍然紧迫的问题：什么时候抗议？现在抗议会发生吗？还有时间抗议吗？