In Redox, Niedling continues to deal with the history of photography, but this time, he reflects on the nature of the paper document – its role in conserving information, and its meaning today and in the future. At first glance, the nineteen large photographs seem to show a single black surface. But with time, viewers are able to identify subtle light reflexes, fine modulations and movements. Single letters, and sometimes words, start to emerge from the blackness, but rarely whole sentences. The photographs in fact depict the ashes of newspapers, which Niedling has collected and ordered into their various sections – Business, Arts, Sciences, Editorial and so on – and then burned.