In 1976, the Düsseldorf School of Photography adopted the term typology—originally associated with the classification of plants—to describe a new photographic approach. Images were to be categorized in a clinical, detached manner that offered a stark contrast to the chaos beyond the frame. “Only through juxtaposition and direct comparison is it possible to find out what is individual and what is universal,” the art historian Susanne Pfeffer has said, “what is normative or real.” In this exhibition, 600 works of German photography by 25 artists—among them, Bernd and Hilla Becher, Candida Höfer, Sigmar Polke, Thomas Ruff, and Wolfgang Tillmans—are arranged typologically. —Elena Clavarino