There is a matter-of-fact quality to Taryn Simon’s photographs. They trade on the notion of the
photograph as a document of truth, only to upend that belief. Simon contextualizes her images
with accompanying text. She claims the texts “anchor” the images, while “the photograph can
dream and slip away into abstraction and form.”1 Two of her best-known projects, which have
been exhibited in museums and published as books, are “The Innocents” (2003) and “An
American Index of the Hidden and Unfamiliar” (2007).