⁞ On the use of Photomontage as an anti-establishment tool ⁞

Henry Peach Robinson, Fading Away, 1858.

Oscar Gustava Rejlander, Two ways of life, 1857.

John Heartfield, Adolf, Self-portrait with Police, 1929.

Raoul Hausmann, Le Critique d’art, 1918.

Alexander Rodtchenko, Montages, 1923.

László Moholy-Nagy, The Olly and Dolly Sisters, 1925.

Hannah Höch, The Bride, 1933.

Paul Eluard, L’Hystérie, circa 1928.

Man Ray, Observatory Time –The Lovers, 1936.

Wanda Wulz, Moi+ chat, 1932

Herbert Bayer, The Lonely Metropolitan, 1932.

Max Ernst, Le PunchingBall ou l’Immortalité de Buonarroti, 1920.

Maurice Tabard, Room with Eye, 1930.

John Paul Pennebaker, Sealed Power Piston Rings, 1933.

Grete Stern, Photomontage, 1949.

Grete Stern, Dream No.1, 1948.

Clarence John Laughlin, The Masks grow to us, 1947.

Toshiko Okanoue, The Miracle of the silence, 1952.

Val Telberg, Untitled, 1948-50.

Pierre Molinier, Poupée, 1960-70.

Erwin Blumenfeld.

Barbara Kruger, Your body is a battleground.

Chuck Close, 9 Part Self Portrait, 1987.

Laurie Simmons, Walking Gun, 1991.

Richard Hamilton, Interior II, 1964.

Gilbert & George, Fournier Street, 2012.

David Hockney, The Desk, 1984.

Jan Saudek, The Mountain, 1996.

Jan Saudek, Stormy Weather, 1985.

Jan Saudek, Hey Joe’s Place 30 years later, 1989.

Joseph Mills.

John Stezaker, Star II, 2008.

John Stezaker, Mask XLVI, circa 2008.

Jeff Wall, Dead Troops Talk, 1992.

Joel-Peter Witkin, The Raft of George W. Bush, 2006.