In the early nineteen-eighties, for instance, Parr drove around the west coast of Ireland in a Morris Minor, documenting other, abandoned Morris Minors that dotted the landscape. Shot in black-and-white, the resulting photos have an elegiac quality and suggest the eventual mortality of any innovation or craze—ashes to ashes, rack-and-pinion steering to rack-and-pinion steering. They also make the case that Parr had a stronger conceptual bent than he is commonly given credit for: according to the rules he set for himself, anytime he saw a Morris he had to stop and shoot.