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The central claim of Fried’s new book is that in the ’70s and early ’80s, when artists began producing very large photographs for wall display, photography “inherited” the problem of beholding as Fried had described it. According to this claim, because the photographic tableau emerges in the wake of Minimalism and of new concerns about voyeurism and the inherently contaminating effects of beholding, it must acknowledge what Fried terms “to-be-seenness” even as it must continue to resist theatricality.