Sherman similarly uses conceptual color photography to interrogate visual culture, perception, and the act of looking, producing flush mounted chromogenic prints that question representation and the gaze in ways that directly parallel Collier's practice.

Kruger's conceptual photographic work critically examines themes of looking, power, and visual culture, sharing Collier's interest in how images construct meaning and how perception itself becomes the subject of the artwork.

Levine's conceptual photographic practice similarly interrogates representation and the nature of visual experience, engaging with questions about how we see and interpret images in ways that closely align with Collier's thematic and formal concerns.