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| Mark Morrisroe Self Portrait 1982 C-print from Polaroid Princeton University Art Museum |
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| Joel-Peter Witkin Canova's Venus N.Y.C. 1982 gelatin silver print Princeton University Art Museum |
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| Arnold Newman Wrapped Figures, George Segal's Studio, New Jersey 1982 gelatin silver print Minneapolis Institute of Art |
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| Philip-Lorca diCorcia Marie and Babe 1982 C-print Los Angeles County Museum of Art |
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| Don McCullin Lebanese Family leaving the Martyrs' Cemetery, Beirut 1982 gelatin silver print Tate Gallery |
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| Jem Southam Cove Cafe, St Agnes, Cornwall 1982 C-print Victoria & Albert Museum, London |
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| John Coplans Mummers' Parade, Philadelphia 1982 gelatin silver print Cleveland Museum of Art, Ohio |
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| Lawrence J. Merrill New York City 1982 C-print Minneapolis Institute of Art |
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| Evelyn Hofer Villa Medici, Rome 1982 dye transfer print Nelson-Atkins Museum of Art, Kansas City, Missouri |
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| William Eggleston Graceland ca. 1982 dye imbibition print Los Angeles County Museum of Art |
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| Lynne Cohen Emergency Measures Auditorium 1982 gelatin silver print Princeton University Art Museum |
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| Linda Butler Staircase, Pleasant Hill, Kentucky 1982 gelatin silver print Cleveland Museum of Art, Ohio |
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| Jo Alison Feiler #53 1982 C-print Los Angeles County Museum of Art |
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| Yasuhiro Ishimoto Main Room (left), the Hearth Room (right), of the Old Shoin, viewed from North-east Second Room (foreground) 1982 C-print Los Angeles County Museum of Art |
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| Lucas Samaras Panorama Self Portrait, One Knee Up 1983 C-print Chrysler Museum of Art, Norfolk, Virginia |
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| Nancy Hellebrand Sarah 1983 gelatin silver print Princeton University Art Museum |
Totem Pole
I put an animal on an animal
which I put onto the animal I had already stacked
on top of my first animal and stood back
to appraise my work only
it looked much too short despite the number
of animals I had gathered, and I felt tired and silly
and disappointed, slumping to my knees, rocking
back onto my bum, then lying down to stare
into the hoary sky until my eyeballs softened
and I was forced by the consistent light
to close them and listen to the animals taking
a surprisingly long time to disorganize themselves.
– Jack Underwood (2016)