The American artist and art critic Hollis Frampton (1936–84) is best known for his experimental films, which were honoured during his lifetime with retrospectives at such renowned institutions as the Museum of Modern Art, New York (1973), the Knokke Experimental Film Festival, Knokke-Heist (1974), and the Anthology Film Archives, New York (1975). In recent years, an awakened interest in Frampton’s work with still images has been demonstrated by a number of solo exhibitions as well as research by a second generation of scholars and curators, who address his multi-media practice beyond the imperative of his films.1 The presentation of Frampton’s photographs at Goldsmiths CCA, London, which spans a period from the late 1950s to the mid-1980s, marks a promising chapter in the rediscovery of the artist’s work with photography, from a curatorial as well as a scholarly perspective.