formalist approach to organisation prevalent in the illustrations. Finally, the issues articulated in this review converge on the authority ascribed to the person who performs the act of ordering. According to the photographs analysed and reproduced in The Order of Things, this power has been held by many different individuals, including an artist, a photographer, a police officer, or a scientist. But The Order of Things, which in itself is an outcome of rules and orders placed upon multiple photographs, points at the positions of a curator, an editor, and a collector. What are the ramifications of endeavours like this catalogue and the concomitant exhibition, which historicise, canonise, and institutionalise the serial and sequential impulses that have been there all along the medium’s history? What does it mean to mix and match the varying mechanisms of photographic arrangement manifested in different parts of the globe at different junctures? This is perhaps the most potent question that The Order of Things offers to contemplate in the midst of today’s conflict between renewed protectionism and the global fluxes of immigration, finance, and images.

中文翻译：

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摄影与德国

插图中普遍采用形式主义的组织方法。最后，本次审查中阐明的问题集中在赋予执行订购行为的人的权力上。根据《事物的秩序》中分析和复制的照片，这种力量被许多不同的人所拥有，包括艺术家、摄影师、警察或科学家。但是《事物的秩序》本身就是对多张照片施加的规则和秩序的结果，它指向策展人、编辑和收藏家的位置。像这个目录和伴随的展览这样的努力的后果是什么，历史化，经典化，并将媒体历史上一直存在的连续和连续的冲动制度化？混合和匹配在全球不同地区在不同时刻表现出来的不同摄影排列机制意味着什么？在当今新的保护主义与全球移民、金融和图像流动之间的冲突中，这可能是《事物的秩序》提出的最有力的问题。