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As a professor at the Bauhaus and in his own art practice in various media, László Moholy-Nagy felt unfettered by traditional materials and practices. Perhaps his lack of formal training in photography was precisely what led him to use the camera in novel ways and to explore the plasticity of the medium divorced from the camera altogether. He was among the first in the modern era to experiment with photograms—pictures made by placing an object on photographic paper and exposing it to light, recording a trace of the object’s form that was often unpredictable and unrepeatable, unrecognizable and abstract.