Photography has been an integral element of Marclay’s practice since his earliest years as an artist. With an eye keenly (and paradoxically) attuned to sound-related subject matter, his photographs function both as source material for his works in other media as well as sophisticated, subtle works of art on their own terms. With an appearance of casual snapshots, Marclay’s photographs evidence a keen awareness of the history of the medium, particularly of Atget, Evans, and Eggleston. His travels have provided the artist with a rich array of sound-related subject matter; a bin of second-hand record albums in Ann Arbor, a marching band outside a window in London, a painted ear on a brick wall in Montreal, a “Honk If You Love Silence” bumper sticker in Chicago. This is the first book dedicated solely to his camera-related photographs.