"[2] Writing in The New York Times, Karen Rosenberg said "Anne Collier’s photographs of vintage books, album covers, posters and other ephemera, taken in an antiseptic white studio, look studiously detached at first.
In the series, Collier use common mechanisms found in advertising as she isolates old forms of media—photos, pages from books and magazine, cassette tapes, and record albums—and reshoots them.
These iconic women, commonly positioned as the objects of male gaze, confront the voyeuristic notions of the public eye with cameras in their hands, repositioned as the voyeurs.
Encompassing around forty works, the exhibition presents several recurring subjects and themes that have dominated Collier’s practice over the past decade.
Her work typically involves arranged still life compositions of found photographic material (such as record covers, magazine pages, appointment calendars, and postcards).
[15][16] Re-occurring themes in Collier's work include pop culture and psychology, consumerism, feminism, gender politics, clichés & tropes, and conventions of commercial photography, autobiography, and the act of looking or seeing.