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subliminally, overtones of American life,”22 suggesting an environment in which serial orders were ubiquitous.23 That position is also explicitly enacted and critically ap- proached by Dan Graham’s Homes for America or physically and metaphorically deconstructed by Gordon Matta-Clarks’ Splitting (1974): both address “serial” housing for low-income citizens, and more generally the social geography of architecture. Through various channels, chronophotography as a serial construction was also redis- covered at that time, by important art publications – the cover of the