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The positioning of Diane Arbus as a documentary photographer stems from the two exhibits that made her reputation, both curated by John Szarkowski: the group show New Documents in 1967 claimed to show documentary photography’s new direction, which Szarkowski said aimed “not to reform life, but to know it”, and Diane Arbus, the posthumous one-woman show five years later, which turned her into an icon. Even as Szarkowski identified Arbus’ work with the documentary tradition, both the American reformist line and the European taxonomic line represented by August Sanders (who came to be known in the United States in the 1960s), he also indicated the ways in which her work did not fit. If the documentary tradition displayed a consistent style of clarity and directness toward reality, it also displayed in the American tradition a particular emphasis on human suffering and a blend of realism and emotional charge, which was meant, in the words of Roy Stryker, the director of the Farm Security Administration, which sponsored the great documentary photography of the Depression era, to “incite change” by mobilizing sympathy. These two documentary modes—that of “knowing” and that of “reforming”—were tangling and untangling in the 1960s. For instance Walker Evans, who made his name with the Farm Security Administration in the 1930s, delivered his important lecture on “lyric documentary at Yale in 1964 in which he eschewed the social reform agenda; in 1966, the year before New Documents, the Farm Security Administration spirit had been revived by Cornell Capa’s exhibition The Concerned Photographer, and its similarly titled catalog, and the documentary practices it celebrated made for some of the most arresting images and photo-essays of the Vietnam War.

That Arbus fulfilled the realist impulse of the documentary tradition could hardly be more obvious, whatever her subject matter. But documentary stuck to Arbus through the powerful intervention not only of Szarkowski but also of Susan Sontag, Arbus first and still most influential critic. Sontag’s essay on the 1972 exhibit, which launched her inquiry into the medium of photography, is still routinely cited in reviews and scholarship on Arbus’ work. Sontag framed the problem of Arbus’s photographs within the documentary tradition following Szarkowski, and defined her work as a misappropriation of its form. Sontag claimed that Arbus photographed and collected other people’s pain but offered no “compassionate purpose” to the viewer. In these terms, Arbus lacked empathy and the photographs offered a “self-willed test of hardness,” one that inured the viewer to ugliness and pain. Sontag attached Arbus to one version of the documentary tradition, the US reformist agenda, and found Arbus’ ability to mobilize sentiment not only deficient but also corrosive of sympathetic sensibilities more broadly.