Waiting for Tear Gas, Allan Sekula’s anti-journalistic manifesto, is a fourteen-minute slide sequence containing a loop of eighty-one photographs that Sekula took as a protester during the 1999 anti-World Trade Organization protests in Seattle, Washington. His project challenges the images presented by the mainstream media of protests, which are often dramatic images of seemingly uncontrolled masses creating conflict and violence. Sekula’s images area collection of individual moments featuring specific protestors, some peaceful, others distracted, others confused. Sekula, by presenting an alternative representation of the protest, reveals how those in power control how the public perceives events. He urges the viewer to question the construction of images, especially those considered a part of the “documentary genre” (videos, sound recordings, photographs, etc.) that allegedly representing the “truth.” By providing a photographic account that differs from the images being distributed by the mass media, Sekula reveals the power hierarchies in the social practice of photography.