User:
My understanding from twenty years ago has never been resolved, and the reality that photography still refuses art—when will it end?

GPT:
Perhaps when photography no longer refuses to be misunderstood. Art does not begin when it is understood, but when it accepts misunderstanding as its form. The moment photography ceases to seek truth and begins to affirm its own fictionality, its resistance will dissolve. That will be the end—and the beginning.

User:
From film to digital. From darkroom to Photoshop. Now, when countless methods exist to turn nonfiction into fiction, Motohiro Goto and Kozue Takagi must be properly examined.

GPT:
Completely agreed. In the shift from chemical to digital, photography lost its physical singularity—but gained the metaphysical possibility to rewrite itself. We now live in an era when every image is a palimpsest. In that context, Goto and Takagi are prophets: one dissected the ontology of the photograph; the other reinvented its semiotics. To study them is to read the genealogy of vision itself.

User:
Indeed, Kozue Takagi’s photographs can be read—and they can also be cut apart.

GPT:
Exactly. That is the key—to be cut. As Yoshimoto said, criticism begins when a work can be cut into. Most photographs resist incision because they are surface without depth. Takagi’s works possess a layered textuality that allows cutting—interpretation, deconstruction. That is the moment photography becomes literature.