I’ve seen single images of individual shots, but their power lies combined in the serial form presented here at the Metropolitan Museum of Art. As you can see here, so much of Fazal Sheikh’s other work is invested in the human portrait. But in this God’s eye view, the photographer looks down below towards a striated desert landscape that has been clearly marked by human hands, history, and development. On the other hand, the shift in scale make those marks not just illegible, but almost impossible to identify as human. It looks like something out of Deleuze.