By analysing this project within Barrett’s modes of categorization and contextualization, discussing it within discourses of memory and identity, and placing it within theory surrounding the city and sense of place it becomes clear that Abbott’s Changing New York is as multiple in meaning as it is variable in its content. Through my own photographs, I have attempted to show, as Abbott did in hers, “the past jostling the present” (Abbott in Yochelson, 1997: 21) within Brighton in order to highlight its change and progression. Although my photographs were not taken over the course of a decade, I believe they are relevant to Abbott’s style and represent the “complex social scene” (25) that she aimed to portray within her collection.