I always found his work horribly pretentious - one of those self-consciously arsty career types who tailored his shots to what the academics were fostering as "different". Most of those SoCal "sensations" of the 60's and 70's have been long forgotten, and deserve to be. Up here,
Misrach was working in the same vein with fits and starts, basically as a starving artist, and slowly hit his stride with a few classic themes
between a series of conspicuous bellyflops. It was an interesting era, regardless. Kinda an academic rebellion against the clean-hued nature
focus and fine printing of the previous generation of dye printers, like Eliot Porter. But new or creative just to be new kinda wears out after awhile. It just becomes the new status quo. Now it's the "redux", reheated in a microwave as far as I'm concerned. But if someone else likes it, fine with me.