The comparison with Christ operates through negation.
Like Christ, Goldin’s friends became her superstars, but a great many of them died, and they won’t be coming back. The photos she took are not an ersatz resurrection; they are the proof of disappearance. She was not in search of the perfect moment, the final photo that would be something like the return of the son of God, but a picture that would never be more than the one before the last, the one that reminds us that taking that other one is impossible and infinite. […] The photographic series do not produce a museum version of love. Instead, they are the figures of endless work.
Martine Delvaux. Nan Goldin: The Warrior Medusa.
And so for day 2302