Given the "loaded nature" of the objects and the situation, there are certainly ways to capture a scene like this that is not only more sensitive (and more mundane), but steers clear of exploitive associations to race and violence.
It's hard to tell how much the far right, in its enduring hate for Obama, is seeing an opportunity in the Ebola hysteria, or the Ebola anxiety is feeding and re-igniting those racist and religious attacks on Obama from their heyday in '07-'10 when he was so unknown.
If you aren't completely transfixed by photos from Gaza, Ukraine, Iraq or the border right now, you might have come across this. Simply put, it's the best visual to come out of the administration in months, maybe longer.
If the White House intended even a half-respectful gesture, they would have provided access to the president yesterday. Instead, they offer up a photo, again taken by their own photographer with a caption starting off: "Photojournalists photograph President Obama..."
The photos and scholarship surrounding Hitler's touring the 1938 Nazi Art Exhibition (and every one from 1937 through 1944) isn't exactly unknown. But that's the point. Apparently, we can't get enough of Hitler.
They emerged this week as the most vivid representatives of Obama's new liberal America, as emblematic of the times and what ails us as Valerie Plame and Joe Wilson were America's "terror era" canaries in the coal mine.
Beyond the pitched cries of editorial impropriety, perhaps it's not all clear what the subway photo is really about. When you think about it, for example, what the photo offers is not the story of what happened so much as its consequence.