Resumen
This essay reconsiders the photomontages that Martha Rosler began making in the late 1960s to protest the war in Vietnam. Typically understood as a means of protest against the spatial mechanics of domination?against the mediated production of the difference between the home front and the war front or the ?here? and ?there? that drives modern warfare?the photomontages, this essay argues, also engage the temporal politics of protest. The problem of how to be ?in time,? ?to be present,? the problem that frames street photography and its critical history, is at the center of this essay and, it contends, Rosler?s protest. By drawing out this critical framework, this essay addresses the still-urgent questions that Rosler?s photomontages pose: When is the time of protest? Does protest happen now? Is there still time for protest?