“How can we see time?” This question is raised in the opening sentence of Didi-Huberman’s book-length study of Bertolt Brecht’s 1955 photobook Kriegsfibel (War Primer in English translation (2017)), pieced together with scissors and glue from press clippings and self-penned epigrams. Three years later, in the concluding sentence of his second volume devoted to the unfinished Mnemosyne Atlas, created by the cultural historian Aby Warburg in the late 1920s, Didi-Huberman declares that the tenacious construction of montage constitutes “the difficult — and dialectical — work of anyone who attempts to see time”.