Abstract

This article explores the work of the contemporary sociologist and urban photographer, Camilo Vergara. The piece draws on early work in critical theory to characterize Vergara's work as `rescuing critique'. Specifically, the article maintains that it is only in the theoretical vocabulary of Walter Benjamin that the methodological uniqueness, historical sensitivity and critical thrust of Vergara's project can be adequately understood. Indeed, it is argued that what is truly distinct about Vergara's work is the decidedly Benjaminian way in which, in the ruinous present of neoliberal `progress', it fuses the aesthetic power of images with an anamnestic obligation to the urban past. In such a fusion, Vergara's photo-ethnographies of America's new ghettos raise critical questions about what has – and might yet – become of such places, and those who inhabit them.