ABSTRACT
Every iteration is constituted by a duration. Every iteration must consist of a pause between the actions of production that define it; the day that passes between the developing of first one and then a second photograph, or the years that go by between an early-career painting and a late-career one. An interpretative attention directed toward that gap, one that acknowledges duration, may reveal qualities or significances of iteration, but a new and precise temporal vocabulary will be needed to articulate the meaning of duration. Historians of design will need to fashion and deploy a broader inventory of terms that can capture distinctions between absolute time, experiential time, the time of processes, and the time of concepts.
