What happened in this Culture story?

Artist Katherine Hubbard spent five years photographing her mother Antonette Berger as she declined from LATE, a dementia-like condition, turning the Germantown apartment project into a London exhibition and a book called 'One Fifty One.'

What is a key fact in this story? (1)

**Katherine Hubbard** spent five years photographing her mother Antonette Berger after Berger was diagnosed with LATE (limbic-predominant age-related TDP-43 encephalopathy), a condition causing Alzheimer-like symptoms with slower decline, using two vintage Polaroid cameras set up continuously in Berger's Germantown, Philadelphia apartment.

What is a key fact in this story? (2)

**The Great Room** series — named after Berger's own description of her apartment's main living space at 151 — has been published as the book *One Fifty One* and is the basis of Hubbard's solo exhibition at Studio Voltaire, London, running 7 October to 10 January 2027.

Hubbard photographs mother's dementia over five years — SkimNews

By The Guardian Culture · Summarized & edited by Kapil Samant · 2026-09-29

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Katherine Hubbard spent five years photographing her mother Antonette Berger after Berger was diagnosed with LATE (limbic-predominant age-related TDP-43 encephalopathy), a condition causing Alzheimer-like symptoms with slower decline, using two vintage Polaroid cameras set up continuously in Berger's Germantown, Philadelphia apartment.
The Great Room series — named after Berger's own description of her apartment's main living space at 151 — has been published as the book One Fifty One and is the basis of Hubbard's solo exhibition at Studio Voltaire, London, running 7 October to 10 January 2027.
Hubbard and Berger made 4x8 ft body prints together in a darkroom — getting naked, covering themselves in Vaseline, and using their bodies as a printing tool on photo paper — though the article notes Berger 'hates Vaseline' and found it suffocating.
Hubbard used mirrors from a set of rotting 1960s mirror doors as a recurring motif, framing it as a way to insert herself into the image and shift the authority and power dynamics of the camera away from herself.
Hubbard took over management of building 151 — a sprawling, dilapidated property Berger owned and rented out for 40 years — inheriting tenants, broken basement pumps, and 'families of squirrels and raccoons living in the walls' while packing up the apartment for Berger's move to a care facility.

Why it matters: The project reframes dementia caregiving photography from clinical documentation into an intimate, five-year performance, with Hubbard explicitly wrestling with consent when the subject has declining cognition. For Berger's audience at Studio Voltaire and readers of *One Fifty One*, the body-print sessions in particular — where a mother with dementia insisted on performing despite discomfort — offer a rawer model of artistic collaboration than the typical 'caretaker documents decline' narrative.