Published by MACK in 2013, *Imitation of Christ* is an illustrated essay by William E. Jones, built around a photograph by Pedro Meyer of a wounded guerrilla fighter in Nicaragua in the early 1980s. Meyer’s image is not treated as an isolated document; it becomes the point of departure for a wider meditation on how pictures give form to political conviction, religious belief, suffering, and transformation.

Jones selected a further forty-five works from the Hammer Museum archive and related UCLA collections, bringing together Renaissance and Baroque prints, documentary photographs, modern Latin American art, and rare books. The book’s range is deliberate rather than encyclopedic. Its associations move across the life of Jesus, the Paris Commune of 1871, the Nicaraguan Revolution of 1979, and the writings of Soviet spy Anthony Blunt in 1940, placing images from different historical and institutional settings into a single argumentative sequence.

At its centre are two difficult questions: how can an image represent revolution, and how can it represent religion? Jones approaches both through comparison, asking what visual languages of sacrifice, devotion, violence, and collective change have in common—and where they resist one another. Text and image operate together, making the publication less a conventional photobook than a hybrid, research-driven essay in book form.

For collectors, its distinction lies in this productive tension between photographic authorship, archival selection, and critical montage. Pedro Meyer’s photograph supplies the initial charge, while Jones’s curation and writing establish a historical conversation that extends far beyond any single maker. *Imitation of Christ* therefore rewards sustained reading as much as looking: it is a considered example of how a photobook can become an arena for art history, political thought, and the ethics of representation.