Suppose we took a thousand negatives and made a gigantic montage: a myriad-faceted picture containing the elegances, the squalor, the curiosities, the monuments, the sad faces, the triumphant faces, the power, the irony, the strength, the decay, the past, the present, the future of a city – that would be my favorite picture.

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I wanted to photograph this subject because the signs’ shrieking blatancy literally cried out for a visual record. To my mind the faded, yellowing paper and the red paint were not particularly paint,able. In black and white the signs shouted, clamored for attention, in visual anarchy. At the same time, the shrewd business sense which plastered them solid over the entire window area produced, as it were by chance, an esthetic by-product: the whole has homogeneity and variety of texture, simultaneously, which give the picture interest.