Pittura Fotografia Film (1925) by László Moholy-Nagy is at once the theoretical manifesto of modern photography, a reflection on the work of art in the age of its technical reproducibility written ten years before Benjamin’s essay, and a text of media and visual culture theory that continues to astonish for its relevance. On one hand it must be considered one of the decisive documents of that extraordinary season of reflection on the cultural role of photography and cinema that were the 1920s and 1930s, closely related to the writings of directors and theorists such as Vertov, Epstein, Benjamin and Kracauer, the photographic experiments of Man Ray and Rodchenko, the photomontages of the Russian constructivists and the Berlin Dadaists, and the abstract cinema of Ruttmann, Eggeling and Richter. On the other, it can be read as a text that introduces for the first time some of the themes still at the centre of media theory and visual culture studies today: the capacity of media to reorganise the sensory experience of individuals, and the role of art in experimenting with a humanistic-aesthetic use of technology.