Barbara Probst came to photography after studying sculpture in Munich and then working under Bernd Becher at the Düsseldorf Art Academy, and her best-known works, the multi-part “exposures,” apply a sculptor’s thinking to the camera: several shutters, placed around one scene, release at the same instant. 12 Moments presents the series of diptychs she made in 2015, in which that apparatus is pared back to two viewpoints of a single event. The reduction is the point. Where the earlier exposures could feel like diagrammed simultaneity, these paired images drift toward something dreamlike and unsettled, the same moment seen twice and refusing to sit still.

Robert Hobbs, the American curator and art historian, contributes an extended essay that reads the new diptychs against the arc of Probst’s earlier production, tracing how a practice grounded in three-dimensional installation arrived at this stripped-down form. The book is published by Hartmann Books in a linen-bound hardcover at 29 by 29 cm, with 68 pages and 42 illustrations, designed by Silke Fahnert and Uwe Koch in close collaboration with the artist so that the paired photographs are encountered as she intends them to be seen. Its binding is made to lie open.

For readers of conceptual photography, the interest lies in watching a method disciplined down to its essentials. The diptych format turns each spread into a small test of attention: what changes between two frames exposed at the same moment, and what the viewer supplies to reconcile them. At 68 pages, the book is compact, and its design treats sequence and pairing as part of the argument rather than as packaging.

That the diptychs can be read as analogous to Probst’s visual thinking is a claim the publisher makes about the collaboration behind the book. Hobbs’s essay supplies the art-historical grounding; the object itself supplies the encounter.