From n+1, 

“When Sekula died of cancer in August 2013 at age 62, he left behind a remarkable legacy as a photographer, filmmaker, art historian, activist, and educator, though only a fairly small—albeit distinguished—tribe of artists and academics has taken stock of it. Much of his work is united by a consistent interest: wherever capitalism sought to hawk the fantasy of an immaterial economy, or to hide its stink in refrigerated shipping freight, Sekula made it his artistic practice to visualize and to describe its mechanisms of concealment. From 1972 onward, Sekula’s “photoworks” documented the winds of post-Fordist labor, while his essays on photography’s material history, such as Photography Against the Grain (1984) and “The Body and the Archive” (1986), aged into enduring classics of Marxist aesthetic theory and cultural critique. Most importantly, since 1989, critical artistic works such as Fish Story (1990–1995), the contrarian TITANIC’S wake (2003), and his film-essay collaboration with Noël Burch The Forgotten Space (2010) brought attention to neoliberal globalization’s forgotten maritime dimensions. These dimensions include the flag of convenience (FOC) system, intermodal transport, the shipping container, the automation and casualization of dockside labor, and the demise of the great urban seaports like the one at South Street in Manhattan, replaced by vast, unapproachable logistics centers like New Elizabeth.”