Anne-Laure Buffard (here)/In Camera (here): This booth was a thoughtful solo presentation of the work of the French photojournalist Marie-Laure de Decker, including a small room of self-portraits from across her long career. This portrait comes from the anti-colonial resistance in Chad in the late 1970s, and is punctuated with laid-back rebel style. A retrospective of De Decker’s work just closed at the MEP. Priced at €7000.

Bildhalle (here): One of the enduring problems that photography has with documenting bodies of water is that it’s decently hard to use a flat image to capture the near constant undulation of waves. The Dutch photographer Joost Vandebrug has elegantly finessed this issue in this 2025 work, where images of cresting waves have been printed on washi paper and then fused to curved acrylic, creating a tactile sense of up and down motion. The small tiles have then been arranged into a wall-filling array that seems to flutter with endless cycling. Priced at €18500.

LOOCK (here): Eva Mahn was a model and performance artist in 1980s era East Germany, whose work has recently begun to be rediscovered. This booth offered a series of androgynous self-portrait nudes by Mahn, provocatively playing with seeing and being seen. Priced at €6000.

Carole Lambert (here): Donna Trope’s Polaroids from the 1990s and 2000s offer a behind-the-scenes look at the creative process of a sought after glamour/beauty photographer. Many of the images take a decidedly jaundiced view of ideal femininity, with amplified beauty regimes that border on mechanized torture, even when overt sexiness or sensuality is the dominant mood. This image pushes the before/after makeover idea to an extreme, making the transformation that much more surreal. Priced at €3000.

Carole Lambert (here): This watery still life by Charles Negre (not to be confused with the 19th century Charles Nègre) turns various seaweed and algae specimens into a shining salad of intermingled color and texture. Negre consistently walks the knife edge between commercial and personal work, applying a polished aesthetic to even the most humble of materials. Priced at €5500.

Roland Belgrave (here): This wall-filling 2021 work by Noelle Mason reimagines an x-ray image taken by border control authorities in the UAE, documenting migrants traveling inside a cement truck. The switch from modern digital surveillance back to cyanotype gives the anonymous figures an uneasy link to the specimens of the past. Priced at €40000.

Fifty One (here): This 2022 image from the Belgian photographer Stig de Block comes from a recent series on lowrider culture in Los Angeles. It revels in the saturated shine of custom green paint and the warm glow of vibrant red hair, the combination creating a memorable pop of southern California cultural energy. Priced at €6750.

Binome (here): Using a light table and various objects and screens, the French photographer Philippe Durand has built a set of brash geometric abstractions that throb with visual vibrancy. Circles veil and overlap, in solids and perforated scrims, creating a hovering mass of shifting color. Priced at €8000.

Binome (here): Corinne Mercadier’s Polaroids from the mid-1980s have a mysteriously theatrical quality. Drawing inspiration from Giotto and liberally mixing photography (and re-photography) with painting on glass, her resulting compositions, like this roof seemingly lifting off and flying away, linger between identifiable representation and expressive abstraction, like fleeting glimpses of mythical stories. Priced at €5000.

Alberto Damian (here): This booth featured a series of 1980s works by the French artist Alain Fleischer, with faces and bodies reflected in everyday metal objects like a spoon or a teakettle. The knife was perhaps the most dramatic of these elusive setups, with the hint of a face found in the blade. Priced at €12000.

Alarcón Criado (here): Drawing inspiration from the architecture of Luis Barragán, the Spanish photographer José Guerrero built miniature studio-based models that he then photographed, playing with angled variations of light and color. As hung here, the 2025 prints alternate back and forth between opposing arrangements, like spot lights that cycle on and off. Priced at €12000 for the set of 6 prints.

Pace (here): The soft blue of the Swedish archipelago is the starting point for expressive embellishment by Lucia Engstrom. Watery tones burst forth as textural wool and mohair, evoking gestural impressions of mountains, clouds, and reflections in the water. Priced at $16000.

IBASHO (here): Yoshihiro Tatsuki’s 1964 project “A Fallen Angel” poses a playfully prankish young woman in amongst more traditional settings, pushing on the rigid roles of women in Japanese society. Here the fun loving woman misbehaves amid a group of brides, peeking out from underneath their formal dresses. Mixing improvisational looseness with more biting cultural commentary, the project still feels fresh and quietly inflammatory. Priced at €5500.

RocioSantaCruz (here): This booth featured a selection of powerful feminist images from the 1960s and 1970s by the Spanish photographer Colita. A limply deflated blow-up doll lies on a bed in this image, and another picture on view had a female body tossed in the bucket of a backhoe. These were resistance images that were meant to provoke, and some of them were censored at the time. Priced at €8000.

Wouter van Leeuwen (here): This image comes from the Swedish photographer Maja Daniels’s recent project “Gertrud”, which uses a 17th century witch story as the starting point for expressive visual investigation of myth and history. This image recalls the original walking on water incident from 1667, here with a swimming body distorted into a swirl of limbs and hair. Priced at €4700, in a tactile collotype print.

Papillon (here): This ambiguously blurred family photo from VOID, the Belgian/Italian artist duo of Arnaud Eeckhout and Mauro Vitturini, is a “phonautogram”. The picture uses a 19th century technique of funneled lamp smoke to translate the vibrations of human voice recordings into wiggling lines that cover the surface of the print. Perhaps the resulting lines tell a story that relates to the image, or one that was triggered by seeing it; whatever the case, the lines imply a set of unknown interpretations that enrich the otherwise anonymous vernacular moment. Priced at €4400.

Hafez (here): This booth was a solo presentation of the work of Nora Alissa, and a larger historic moment for the gallery as the first gallery from Saudi Arabia to join the fair. Alissa’s images capture folkloric dances from around the kingdom, using multiple exposure and blur to follow the energy of the movement. The works feel impressionistic and steeped in the possibility of memory, where the ephemeral spirit of a tradition is recorded for posterity. Priced at €3700.

Vasari (here): The Argentinian artist Julio Le Parc is best known as a pioneer of kinetic and optical art, and this booth was survey of some of his early experiments with photography. The light in this precise 1962 image spirals inward, like strands in an intricately woven basket. Priced at €9000.

Hans P. Kraus Jr. Inc. (here): Bertha Wehnert-Beckmann was a 19th century German photographer, and one of the first professional female photographers in the world. She worked together with her husband in a portrait studio in Leipzig until his death in 1847, and then continued the business in various successful forms (including a brief stint in New York) through the early 1880s. This austere portrait of Dr. Reichel is evidence of her talent, his unwaveringly serious gaze and his stacked books offering clues to his personality. Priced at €6000.

Akio Nagasawa (here): The 1980s are alive and well in this stylish image by Noriaki Yokosuka. Made in collaboration with the fashion model Sayoko Yamaguchi in 1984 for Shiseido, it exemplifies a unique 1980s Japanese style, the colors, bold patterns, and quirky hairstyle coming together with seductive dynamism. Priced at €6000.

Akio Nagasawa (here): These boldly shadowed works come from a recent project/photobook “Tesseract” by the Japanese fashion photographer Takay. The simple setup of stacked pedestal blocks and a figure dancing with/on a pole leads to an elegantly iterative study in shadowed form. The moving shadows twist and tumble over the planes and corners of the blocks, elongating and distorting in unexpected ways. Priced at €1200 each.

Intervalle (here): The implosion of the old Kodak building in Rochester, New York, in 2007 was a symbolic moment in the history of photography, and the Belgian photographer Lucas Leffler has transformed images of that event into ghostly echoes of ever changing technology. His wall filling works place tiles of wet plate collodion imagery onto iPhone screens, conceptually reconstructing the smoky mass of the falling building out of technologies that came before and after. Priced at €19500.