I invited Papageorge to be the holder of the 2010 Rome Commission, and, that winter, we began writing to each other about how to structure a possible work on Rome. Eventually, I suggested a strategy for overcoming the classic dialectic opposition of topographers/street photographers. Papageorge agreed with this suggestion immediately, replying: “I very much like your phrase, a sort of overcoming of street photography”. I then imagined the entire project as an examination of the repetition compulsion as it is demonstrated in many photographers work: “topographic” Roman frames would be chosen that Papageorge would then fill with life. In reality, however, things worked out differently: as ever, in art, freedom conquers any plans: a few hours after Tod had arrived in Rome he began a flanerie (strange to use a French word for an American in Rome), at first without any aim, and then, almost systematically, by moving through the Pigneto, Mandrione, Ostia, Garbatella, Prati, parks, train stations, suburban avenues and, of course the centre.