In 1975, the New Topographics: Photographs of a Man-Altered Landscape exhibition, organized by William Jenkins, at George Eastman House, changed the scope and aesthetics of American landscape photography. Ostensibly pared-back and banal, these black-and-white images formally presented the United States as a series of streets, suburban new builds, industrial sites and warehouses. None bigger than eleven inches by four or thirteen by thirteen, the photographs were also small and unassuming, refusing the grandness and potential sublimity of previous evocations of the US landscape. Rather than present the United States as a series of locations marked by regional and economic differences, photographers such as Robert Adams, Frank Gohlke, Lewis Baltz and Bernd and Hilla Becher now focussed on an increasing homogeneity across terrains, terrains often indeterminable in terms of actual locations, and, more often than not, eerily devoid of human presence. In Neil Campbell's words, the images were “unemotional, flat and appeared everyday, aspiring to ‘neutrality’ with a ‘disembodied eye.’” The New Topographics – according to such readings – differed from earlier depictions of the United States, moving away from the documentary focus on agrarian poverty and urban slums as seen during the Depression, as well as the humanist vision of postwar photographers such as Robert Frank. As William Jenkins put it in the original introduction to the exhibition, New Topographics was a study more “anthropological than critical,” one that would recentre everyday lived experience – not as a collection of individualized narratives, but as a cultural landscape marked by commercial interests above all.