On Essex Road

A watchful dog in a confusion of reflected chairs begins and ends Cohen’s finely tuned observational portrait of London’s Essex Street, and the inhabitants who work the shops and throng the pavement there. People hurrying, pausing, waiting or simply standing, intermingled with worn statues of historic peerage in the slanted light of late afternoon. A man holds a copy of The Law of Privacy and the Media as though testing its resilience against the quiet onslaught of an average work day. It is a work composed entirely of interstitial zones, temporal as well as spatial, perfectly balanced one against the other with each having plenty of room in the broad space of the given moment.

— Julie Murray