Kasten's are like exorcisms to make photography reveal its surface: what was made to represent everything but itself - not to see its silver substrate as Deschenes or an self-indexing gambit of Beshty's mechanical noodling- but a surrealist project of photography's desire-surface, the paradox of photographing glass, making its car-body self expose without getting a look under the hood, desiring the wet image of surface. Like making love to someone's glistening sweat.
See too: Tony Conrad's Glass
