From photography to site-specific art, the work of Hiroshi Sugimoto is characterized by a profound reflection on time and space, in particular with reference to the theatricality of his photographic practice. Looking at his decades-long career, scholars and critics have thoroughly examined his approach to the medium and the peculiarities of the objects portrayed in his work, focussing on the ways in which his black-and-white, long-exposure photography expands our understanding of the photographic apparatus. Sugimoto's work, in fact, arguably presents a series of affinities with, and reflects on, other arts, in particular performance art and the cinema. Giuliana Bruno, for instance, discusses the relationship between Sugimoto's photographic series such as Dioramas and Wax Museums and the origins of cinema. She points out that, from a cinematic perspective, the photographer's portrayals of movie theatres, wax statues, dioramas, and seascapes represent an itinerary through the genealogy of cinematic space, to the extent that Sugimoto's ‘work pictures the hybrid, spatial archaeology of the cinema’. Michael Fried, comparing Sugimoto's work with Cindy Sherman's and Jeff Wall’s, suggests that, with specific reference to the question of theatricality,