"The photographs by Thomas Struth, made in such diverse places, and the spectacular effects that they present to the viewer, have partly to do with what Gunther Anders once described as the “Promethean difference” of human beings. In short: there is a fundamental difference between the products made by humans, the “sons of Promethus,” and everything else they do. In the face of the demands and conditions of an economic system that is purely fixated on growth, and last instrumental reason issues from the human body, leaving all the various feelings behind. The level of what is doable can be raised, ad libitum, whereas our capacity for imagination remains relatively static. Our emotions are contained within a comparatively rigid, anthropologically prescribed corset, which is in turn culturally conditioned or shaped by the individual mindset. In other words, our inhibitions, deliberations, fears, and precautions have barely developed at all, if we consider the excesses to which our deeds have led. It is possible that underneath it all, Thomas Struth is inquiring about the moral fantasy of globalized living, economic practices, technology, and scientific strategies. It is possible here to go into how this leaves its mark on his aesthetically autonomous works or indeed whether these matters have a verifiable role that transcends aesthetic appearances. However, we may safely say that what Thomas Struth presents to us is not to be read as a form of agitation; on the contrary, he poses aesthetically formulated issues that make such an impact not least because they concern us personally and are, above all, crucial to the future of human civilization. In a nuanced, always indirect manner, his photographs explore what the future holds or may hold for us. And, it seems, this in turn encapsulates the inherently political intent of his oeuvre."
— Armin Zweite, Essay: A Certain Sense of Placelessness, Thomas Struth Photographs 1978-2010 (via hyperbanal)