In Autumn 2022, I took an American friend who was visiting Berlin to an event at Between Bridges, the project space founded and operated by Wolfgang Tillmans. The occasion was a talk given by the artist and master photographic printer Gary Schneider about his friendship and working relationship to Peter Hujar, as well as the launch for Peter Hujar’s Day, a new book by Linda Rosenkrantz, released by Magic Hour Photo. When I met with Tillmans the following July, the intimacy and tenderness of this event were fresh in my memory. I’d been reminded of the impactful contribution of Tillmans’ public work, outside of his legendary photographic practice. A couple of weeks before our conversation, I visited Berlin’s national library, intending to check out all of the books on Tillmans’ work. I ended up taking only a fraction, which still amounted to a stack the size of a small television. His work can feel like a galaxy of images, in which the miraculous phenomenon of seeing is constantly evoked, in concert with meditations on time, bodies, and politics. In recent years, the last noun in this list has increasingly occupied Tillmans. So that’s where we started.