Abstract
This article takes examples from writing, painting and photography to pursue an inquiry about the way in which documentary expression relates to the physicality of the object world. Various picturings of the physical are examined alongside the documentary ambition to use the particular to illuminate the general and to take the world of appearances as a route into more abstract engagement with the conditions of the social and historical. Along with the principal thesis about physicality, the article suggests the benefits of introducing more cross-media comparison, including of forms not conventionally fitting under the ‘documentary’ heading, into documentary scholarship.
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