So what does one see in these pictures? What was the Clinton campaign of 1992, as viewed through Bentley's and his Leica's eye?
From one angle it appears an exhibit of the machinery of connection--telephones in limousines, on floors, on walls, hand-held phones, bouquets of microphones, microphones on stands, on poles. Someone, including Bill Clinton, is always on the horn to somewhere else, his voice carried somewhere else. The candidate must be in several places at once, must be alert to, and informed of, several things at once. He must live in a multitude of tenses and situations. Bentley has caught something about these broadcasting devices: they connect to everything but the here and now. By so doing they serve as emblems of the dangers of the
