Sanne van den Elzen’s “Today, too, I experienced something I hope to understand in a few days” begins with a gesture so ordinary it usually escapes notice: the way people greet each other. Published by Fw:Books in 2018 as a 128-page softcover, the book examines greeting as perhaps the most universal bodily language there is, and then asks what happens when that language is misread. At what point does a familiar formality—the Dutch habit of three kisses on the cheeks, for instance—begin to press against the edges of a person’s comfort? Where does intimacy end and misapprehension start?

Rather than answering through text, van den Elzen works photographically, treating the greeting as a choreography to be slowed down and taken apart. Her attention falls on intervals and interspaces: the pause before contact, the half-second of adjustment, the small negotiations that precede or follow an embrace. The publisher describes this as a playful visual research method, and the phrase is apt—the book behaves less like a portfolio of finished pictures than like an inquiry conducted in sequence, where each image tests the previous one’s assumptions.

The title itself, a diaristic sentence borrowed from daily uncertainty, sets the tone. It promises comprehension deferred rather than delivered, and the photographs hold to that promise. English-language throughout, designed by Hans Gremmen, and sized at 17 by 24 centimeters, the volume treats its modest format as a working space for close looking rather than spectacle.

For collectors drawn to conceptual photography that uses the book form as an argument, this is a considered example. Its subject—the unspoken rules of proximity—sits at the intersection of documentary and staged observation, and its method turns sequencing into the primary interpretive tool. It rewards readers who return to it slowly.