In the history of the Rome Commission, in 2005 Anders Petersen made an important break with the previous two editions by Josef Koudelka and Olivo Barbieri: instead of pursuing the tradition of Rome’s monumental beauty, he transfigured it completely, and for the first time the commission’s true subjects were portraits of people. Indeed, Anders Petersen works on a primitive concept of city, the one that causes a community to form around a place, appropriate it and acquire an identity through relations between people, both physical and emotional. (…) It is this physicality, which is organic because it is formed by the inhabitants, that leads Petersen in a city like Rome to seek places where the fever can flare. In other words, he collides with the subject of his pictures engaged in a strange and frenetic performance that fulfils the need of the photograph in an interesting process at different speeds. This is Petersen’s vision and this is the fever.