German photography in the 1920's and 1930's evolved through two highly articulated but divergent approaches: the school of objectivity, and the school of experimental possibilities. The objective approach will be represented by the landscapes of Albert Renger-Patzsch and Werner Mantz; rare vintage plant studies by Karl Blossfeldt; stoic portraits by August Sander; and from Alfred Eisenstaedt, Marlene Dietrich in tuxedo, 1928. The experimental Bauhaus aesthetic will be highlighted by bird's eye views and photograms by Laszlo Moholy-Nagy; oblique and disorienting portraits by T. Lux Feininger; and a surreal Bauhaus theater production designed by Oscar Schlemmer and recorded by Irene Bayer. After World War II, "Subjektive Fotografie" grew out of the photographers' group FOTOFORM, and combined a scientific objectivity with abstraction. Viewiers will see the stylistic shift during this period in a surreal image of reflecting drops by Peter Keetman, a time exposure of a moving carousel at night by Toni Schneiders, and a negative print multiple exposure by Ludwig Windstosser. From the Bechers, who combined the objective seeing of the 1920's with interpretive presentation of the 1950's, the exhibition concludes with an early typology of "Preparation Plants" from 1966-76, two Ohio Steel Mills, as well as a grid of German house facades from 1989.