I agree with this post, and I think a lot of other HN readers would as well if they saw the context of Struth's work. I did a quick Google images search and fou

I agree with this post, and I think a lot of other HN readers would as well if they saw the context of Struth's work. I did a quick Google images search and found a few of his other works: http://classes.dma.ucla.edu/Fall13/173/wp-content/uploads/2013/10/thomas-struth.png http://classes.dma.ucla.edu/Fall13/173/wp-content/uploads/20... http://www.contemporaryartdaily.com/wp-content/uploads/2010/10/2009_PHARMACEUTICAL_PACKAGING__LABORATORIOS_PHOENIX__BUENOS_AIRES_2009_1500.jpeg http://www.contemporaryartdaily.com/wp-content/uploads/2010/... http://www.contemporaryartdaily.com/wp-content/uploads/2014/02/13552Struth-Ulsan2.jpg http://www.contemporaryartdaily.com/wp-content/uploads/2014/... Comparing these to the Paradise series, all exhibit the a similar sense of visual complexity, as discussed by VieElm. However, these photographs are not necessarily of "mundane objects" -- city skylines are commonly photographed. This leads me to believe that Struth's interest is in the visual appeal rather than an interest in "the obvious." Despite this, I liked the article. Well written and thought-provoking.