Nuclear Sublime by photographer Michael Collins gathers a sustained body of work on the architecture and landscape of nuclear power in the United Kingdom and beyond. Working in the lineage of the topographic tradition, Collins photographs reactor halls, cooling towers, perimeter fencing, control rooms and the surrounding land in a register that is neither sensational nor decorative—the buildings and their settings are given the careful, frontal treatment they deserve as some of the most consequential structures of the post-war period. The title nods to the philosophical category of the sublime and asks what it means now, in an age when the sublime has shifted from mountain and storm to the engineered: the dome of a reactor, the calm interior of a turbine hall, the smooth grey concrete of a containment vessel. Collins—an Arts Council–supported photographer, picture editor and critic, the first contemporary art photographer to be exhibited at the British Museum—works with a precision and emotional restraint that makes the work powerful as document and as meditation on what we have built and continue to build.