Name the idea again
Return to the original intention before choosing images. If the work was meant to feel concentrated and restrained, an energetic outlier may be impressive but wrong for the sequence. Judge each photograph by the role it plays, not only by how much it attracts attention on its own.
Alternate the kind of information
A close portrait, a wider gesture and a material detail can create a useful rhythm. They do not need identical compositions, but they should feel related through colour, contrast or pacing. Remove near-duplicates unless the change between them contributes something the viewer can actually recognise.
Test the beginning and ending
Lay out a short sequence and consider what the first image promises. The ending can resolve that promise or deliberately leave an open question. Try a different order before adding more pictures; the same selection can feel much clearer when the transitions are considered.