I’m here to pay tribute to the big, dumb, lumbering buildings, with their slow elevators and water coolers, and common bathrooms with mysterious and disconcerting odours. But what kept pulling me back was its ambiguous narrative – who were these two people, what was their relationship, and why was the woman looking at that piece of paper on the floor?’īut I’m a defender of the office, despite all its annoyances. What first drew me was its setting, which I related to each and every workday at the bank. ‘In 1987,’ photographer Steven Ahlgren says, ‘when I was bored and unfulfilled, working as a banker in Minneapolis, I began taking frequent trips to look at a painting by Edward Hopper, Office at Night.
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