Erwin Piscator entering the Nollendorftheater, Berlin 1929

This photomontage by Sasha Stone shows Erwin Piscator entering the Nollendorftheater in Berlin. It’s like a ghostly double exposure, a layering of time and space, where the city’s architecture merges with the figure of Piscator himself. I can almost feel Stone in the darkroom, carefully aligning the negatives, letting the images bleed into each other. What was he thinking? Was it a statement about the theater's role in constructing reality, or Piscator’s own looming presence in Berlin’s cultural landscape? You see the scaffolding, the bones of the building exposed—much like how montage lays bare the mechanics of image-making. It reminds me that art is never really finished; it's always under construction, always in dialogue. And that’s the beauty of it. We see Stone, we see Piscator, and we can imagine ourselves in the mix, too.