The first *Dislocations* appeared in 1998, issued by Harvard’s Film Study Center as an experiment in alternative bookmaking. It assembled photographs from scattered corners of Alex Webb’s work into a single sequence and treated photography itself as a form of dislocation: the photographer arrives where he does not quite belong and departs with something partial. The book went out of print and stayed in demand.

Aperture’s 2023 edition does not simply reproduce it. Webb returned to the idea during the pandemic, spending time with the 1998 book and with the two decades of pictures made since. The new sequence draws on both and adds previously unpublished images. His subjects remain dispersed across many countries; what binds the pages is not geography but a way of seeing — gesture, colour and competing cultural pressures compressed into one frame, the signature of a photographer long recognised as a pioneer of colour work.

Dislocation here is both theme and method, and the sequencing is where the argument is made. Photographs from different countries and different decades are placed in conversation rather than arranged as an itinerary, so displacement registers as a condition of the medium itself: the impossibility of standing entirely inside the scene one records.

For collectors, the useful facts are quiet ones. The volume runs to 128 pages in hardcover, at roughly 31 by 26 centimetres, a format that gives the spreads room. Garnette Cadogan, described in the book’s author note as an essayist and journalist, contributes accompanying text; Geoff Dyer and David Chickey are also credited among its contributors. The 1998 original was a limited, experimental object that later became hard to find. This edition returns its proposition to circulation with new material, which is reason enough to keep the two together.