Buck-Morss presents Benjamin’s Arcades Project as an archaeology of modernity conducted through montage rather than continuous exposition. The iconic idea is that nineteenth-century Paris can be read as a dreamworld materialised in arcades, commodities, panoramas, technologies and urban types. The theoretical contribution lies in converting historical fragments into dialectical images: constellations in which past and present become mutually legible without being subsumed by a progressive narrative. Methodologically, quotation, citation, juxtaposition and the organisation of convolutes replace linear argument, allowing the archive to think through its internal tensions. The conceptual operation is critical montage: heterogeneous residues are assembled until latent historical relations flash into visibility. The wider bridge reaches media archaeology, urban history, curatorial practice and critical theory. The Arcades Project demonstrates that incompletion may be a rigorous form, because the discontinuous archive can preserve contradictions that explanatory totality would smooth away. Knowledge is produced through arrangement, adjacency and charged interruption.