Possibly, the enquiries proposed by such outstanding authors in Fotografía expandida return, in an incessant manner, to a question already pointed out, to the disposition that has always surrounded the photographic in broad terms: to the fetishist objectuality, to immersive spatiality, to the narrative that founds all archival logic, to the objectual-portable printed format, to the inexorable presence of the body. Perhaps this dispersion, this borderline quality has denoted its real constitutive character. Probably, the disciplinary effect, the one that gave photography the status of a language, has been a mere mirage provoked by the lens of an auxiliary discipline: history."’ Jorge Zuzulich