Before the pandemic, photo booths had a universal charm. Reminiscent of secular confessionals, they can still be found in many cities, as machines for (re)creating intimacy. But what if something goes wrong, what if the machine produces something it isn’t supposed to? Would that desecrate the nostalgic confession? Is it a challenge to your ego? Or does it maybe provide a glimpse into another world? Such are the questions raised by the photographs of Akinbode Akinbiyi, which the Paranoia TV photo booth at Am Eisernen Tor provides in sets of three along with the beholder’s portrait. They show the coarse-grained texture of a city during the lockdown, where garbage can display a glamorous beauty beyond Marcel Duchamp.