Abstract
Antiquity occupies a surprisingly central role in Michael Fried's account of contemporary art photography. More specifically, on Fried's account, photographs of antiquity by Thomas Struth and Patrick Faigenbaum stand at the vanguard of contemporary photographic practice. This essay examines the place of these photographs in Fried's work. The essay suggests that close attention to them can illuminate not only unclear turns in Fried's otherwise stunning argument, but also our understanding of the phenomenology of ‘beholding’ in antiquity, a problem that recent work in ancient aesthetics has made considerably more philosophically fraught.
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