Bernd and Hilla Becher photographed between 1959 and 1973 a large number of timber-frame houses, transformed into types by the strict German regulations, and their publication in 1977 turned the documentary series into a mythical work. For his part, Andy Warhol carried out in 1962, shortly after Marilyn Monroe’s death, a silkscreen printed diptych that opposes the public and private life of the actress by repeatedly reproducing, in color and in black and white, an image from 1953, and the canvass became a symbol of pop art and its serial aesthetic. These two historic works serve as a prologue for eight photographic series presented as diptychs. The repeated domestic types of Bruno Fontana are set off against the free self-built houses of Adam Wiseman; the architectural works collected by Iñaki Bergera are compared with the residences documented by Luis Molina-Pantin; the suburban oneiric lyricism portrayed by Gregory Crewdson is presented alongside the poetry of the peripheral developments transfigured by Todd Hido; and the endlessely varied interiors of Bogdan Girbovan are associated with the humbly different apartments of Michael Wolf: four duets in which the documentary series join their narrative voices to compose an intellectual and aesthetic landscape that is hopefully richer in resonances and more plural in suggestions, as may perhaps also happen in the architectural dialogues this photographic series introduce...