The term abstraction, as it is generally applied to photography, is misleading. Completely indecipherable photographs are quite rare and usually quite boring. More common and more interesting are pictures such as this one, in which an unfamiliar configuration of form competes for our attention with what we are inclined to call the subject—in this case, the woman's face. That competition is the true subject of the picture.
Moholy-Nagy taught at the Bauhaus in Germany between 1920 and 1933. He began his career as a painter, but in the mid-1920s he came to regard photography as the universal visual language of the modern era because it was mechanical and impersonal and, therefore, objective—no matter how unexpected the results might be. Perhaps it was precisely the unpredictability of photography that he loved, because it unveiled fresh experiences.
In 1925 he published a picture book titled Painting, Photography, Film, which illustrated the many ways in which photography challenged old habits of seeing—by showing very distant or very small things, for example, or by looking up or down. The great majority of the illustrations were the work of scientists, journalists, amateurs, and illustrators—not of artists. The message was clear: photography had revolutionized modern vision without the aid of "art."