The public images of cities tend to be defined by the iconic photographs with which their buildings, neighborhoods, skylines and vistas are represented, even though the views portrayed in these stereotypical images are frequently at odds with the life of the city and the reality of what occurs in them. In this exhibit we are interested in collecting together "anti-iconic views," both in terms of visual experience and political reality, of a broad selection of cities. The exhibit promoted unfamiliar views of familiar places in order to change how we think about and represent them, and look for ways to embody alternative viewpoints in the construction of images. Along with the premise that our experience of cities is informed by the ways it is represented, is an interest in physical aspects of the photographic image, and techniques for applying distinctly architectural operations, such as the materiality of the printed surface, the assembly of multiple frameworks into a single construct, and the spatial or narrative aspects of compositional form. From Felix Bonfils' panoramic view of Damascus and Ed Ruscha's All of the Buildings on Sunset Strip to images from Venturi Scott Brown's Learning From Las Vegas, and David Hockney's photo-joiners of Southern California- innovative photographs have not only redefined the ways we think about and document places, but have also triggered new approaches to the ways we design them. Given the shift from developing and enlarging toward processing and printing, what is the status of the constructed image as a means of communicating a place and how do we assemble shots of a city in a way that engage its particular qualities? From the selection of specific features that best encapsulate the ethos of a particular city, to the material structure of the image, format and assembly, the selected photo-constructs created a spatial geography as much about the physical attributes of photographs and the space in which they are displayed as they are about the cities they portray.