In her various diminutive photographic series, artist Judy Fiskin explicitly refers to the technique of cataloging as a defining aspect of her larger artistic project. Selections from her Dingbat, 1982-1983 series are included in the Dingbat 2.0 publication and are discussed in Wim de Wit’s adjoining essay “Behind the Facade: Judy Fiskin’s Dingbat Photographs.” The dingbat series exemplifies and crystallizes her agenda and a larger zeitgeist of the era: serial documentation of the generic as a critique of the logic of postwar production and consumption.

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