"Wandering through the vast exhibition, I wonder to myself about the faces on these walls. These individuals, the wide-ranging subjects of Diane Arbus’s incisive camera, are so carefully composed that to question the consent of their imaging hardly seems relevant — and yet it is. Arbus, whose legacy lies in the sensitive, uncanny proximity of herself to her subjects, is often credited with the sense that rather than stage her subjects, she “waited for them to pose themselves.”1 But many of Arbus’s subjects were people marginalized by the broader American culture of the time — drag queens and other queer-coded individuals, the developmentally disabled, children — in other words, relationalities potentially exploited under the nature of their collaboration. A photograph is a political object, with evident power dynamics."