This acute and overarching analysis of Allan Sekula's documentary poetics illuminates his critique of neoliberal capitalism through photography, film and prose. The authors trace surprising paths through his practice emphasising not merely the depicted topics but also his dialectics of form. Posing new questions about the relations between aesthetics and politics, they consider Sekula's examination of image modes alongside his radical investigations of terraqueous capitalism. Day and Edwards show how Sekula's purview 'from below' allies motley proletarians with 'colour as comrade'. His...