"Anachronism of Images: Documents and Recoveries" is the title given to the exhibition that showcases the winners and finalists of the 17th Photography Biennial. And rightly so, considering the diversity of files that defined the profile of the participants, which in turn is reflected in the selection made by the jury, formed by personalities like gallery owner Patricia Mendoza, visual artist Yoshua Okón, photographer Yvonne Venegas, as well as curators Amanda de la Garza and Irving Domínguez who were also entrusted with the curatorship. The thematic center of the exhibition was precisely that anachronism in which historic or reverential documents are confused with that other one that defines the ever-changing present. The pieces in the selection, which includes works ranging from what could be called mixed media to installations, share the use of mechanisms of the printed image: the printed trace left by the exposure of one body on another, whether or not such body is sensitive to light. In this manner, the pieces range from pictorial representations (or derivations) of the journalistic image found in Víctor Sulser's series titled "The Pyramid and Its Shadow," to the sum of narrative elements (the video that documents the burning of a castle made with fireworks, which includes the word "disappeared," accompanied by the ashes left from an installation that emulates the castle in the exhibition space) in the piece titled FracturaMX (FractureMX) by Bruno Bresami; or the recovery of physical and visual debris as memories in the book-object and the light boxes that make up A Particular Windy Day… by Pavka Segura; to the monumental visual poems constructed with the multi-chromatic superimpositions of printed papers—from printing calculator machines—with the amounts discussed for the ransom during the kidnapping of the artist from Morelos Jesús Jiménez, which he titled "Notes for a Negotiation," or even to the fur remnants from cattle on wire fences depicted by Carlos Iván Hernández-Álvarez. Also noteworthy of mention is the participation of artists that resorted to more conventional printing methods. For instance, the documentation of cutaneous tissue by Adriana Calatayud, the documentation of the remnants of an abandoned hotel in Ciudad Juárez by Azahara Gómez; or the intimate document created by Abigail Marmolejo of the space that she inhabits with her mother. Noteworthy among the honorable mentions are: the installation titled Punto Ciego (Blind Spot) by Isolina Peralta, constructed with badly taken tourist snapshots and pages transcribed from Peralta's diary and the highly violent, but equally endearing, narrative created by Mauricio Palos with photographs belonging to La Familia Hernández de Guerrero y Queens (The Hernández Family from Guerrero and Queens). The First Prize was granted to Sofía Ayarzagoitia for her work titled "Each Night I Am Afraid of Becoming Dinner," a photographic series that portrays the colorful life of migrants, and Diego Berruecos, who emulates Ed Ruscha with his work 26 Used To Be Gasoline Stations in Mexico. The exhibition has generated controversy in social media between photographers, artists, and critics. Photojournalist Ulises Castellanos did not care for it and discredited the exhibition in his column in the newspaper El Universal ("Bitter Christmas," December 17, 2016) for not subscribing to the canons that defined staged and documentary photography until the end of the last century. On the other hand, in Código magazine Iván Ruiz wrote that it is not so much about a rupture as it is "a temporary superimposition with an intolerable occurrence" for the reactionary conservatives. But there is no doubt ...