- Photographic memory (No. 12)
What we do with photographs [review-essay]
- The invisible man (No. 13)
The elusive genius of Chris Marker’s films [review-essay]
- Giddiness and desperation (No. 16)
The photographs of Jacques Henri Lartigue [review-essay]
- Lost time accidents (No. 19)
A walk amongst the stones and ruins of Dungeness, Kent [essay]
- Mad Tracey from Margate (No. 22)
A seaside town and its most notorious daughter [review-essay]
- Objects in the mirror (No. 23)
To Passaic, New Jersey, in the footsteps of Robert Smithson [essay]
- The enemy within (No. 24)
The idiot Georges Bataille [review-essay]
- Atomized (No. 26)
The ruins of England’s gunpowder belt [essay]
- Golden hours (No. 27)
The films of Tacita Dean [review-essay]
- Very important man (No. 29)
Adventures in the art world [diary]
- Whatever (No. 31)
The genius of Duchamp and his remade readymades [review-essay]
- A cinema of happiness (No. 34)
The films of Andy Warhol [review-essay]
- Future anterior (No. 38)
The time-travelling art of Gerard Byrne [review-essay]
- RB and me: an education (No. 41)
Becoming a reader, and a writer [personal history]
- Points along the edge of a Kentish marsh (No. 44)
A walk around the mysterious Isle of Grain [essay]
- Notes on Bowie (No. 53)
How David Bowie invented me, and may have invented you [essay]
- Vigilance (No. 59)
On cycling in London [essay]
- Vaguenesses (No. 62)
The uses of error in the work of a great Victorian photographer, Julia Margaret Cameron [review-essay]
- A mirror’d be better (No. 64)
William Eggleston's exercises in style [review-essay]
- L’autre moi (No. 68)
Claude Cahun’s austere dandyism [review-essay]
- Details, details (No. 72)
On the essays of Elizabeth Hardwick [review-essay]
- Sufficient contortion (No. 75)
The early work of Diane Arbus [review-essay]
- Ireland’s English question (No. 77)
On England and its influences in the shadow of Brexit [essays]
- The life within (No. 80)
Living in modernist London [essay]