Alexandra de Viveiros (here): As the war in Ukraine escalated in the spring of 2022, it became increasingly urgent to protect the country’s artistic treasures from damage or theft. Elena Subach’s series “Hidden” documents that process, capturing museum curators and conservators hastily wrapping, covering, and moving (or concealing) various artworks. The gesture in this image is almost modest, seemingly holding up a discreet veil to the partially seen body behind. Priced at €1800.

Alexandra de Viveiros (here): In the 1970s, the Ukranian photographer Oleksandr Suprun used photocollage as way to examine the contradictions of everyday Soviet life. Here a dense crowd of women and children are placed underneath a carnival ride, with a man in military uniform rising high in one of the swan carriages, the absurd distance between them made visually clear. Priced at €5600.

NORDÉS (here): Anna Turbau was a Spanish photojournalist who was particularly interested in the resettlement of Roma communities in the 1970s. This booth featured a number of images from that important series, but this early 1980s image from Barcelona stood out as well, the penetrating stare of a performer in a theatrical group peeking out from under a massive cartoon head. Priced at €3000.

La Galerie Rouge (here): Claude Batho’s quiet domestic scenes from the 1970s and 1980s find lyricism in daily life. Here the French photographer captures a shy girl in a doorway, the vertical lines of the brooms and other hanging objects behind her echoing the doorframe with compositional sophistication. Priced at €5000.

The Third Gallery Aya (here): Fusako Kodama studied under Yasuhiro Ishimoto in the late 1960s, and went on to make sensitive images of street life around Japan in the 1970s and 1980s. This 1976 image captures a nostalgic moment of childhood curiosity and longing, with the silhouetted figure of a baseball player just out of reach behind glass. Priced at $5000.

Parrotta (here): The German photographer Susa Templin’s works bring together layers of imagery on transparencies, creating sculptural collages and assemblages that hang and overlap. This work goes behind the scenes in her studio, documenting the aftermath of her working process, with cut acrylic remnants intermingled with studio gloves, tripods, and light fixtures, as seen in the mirrored tabletop. It’s a pleasingly disorienting view, with reflections doubling the scattered objects. Priced at €3000.

Rolf Art (here): This booth was a paired presentation of works by Alicia D’Amico and Sara Facio. The two Argentinian photographers worked together in the 1960s and 1970s, often collaborating and sharing credit for images. This portrait of Gabriel Garcia Marquez was made by Facio, his tangle of fingers, perhaps lighting a cigarette, and the darkly cast shadows obscuring his face with tactile elegance. Priced at €15000.

Kuckei + Kuckei (here): The German photographer Lilly Lulay’s collages turn found photographs into improvisationally layered built landscapes. Architectural features frenetically pile up and overlap, creating hybrid spaces that feel crowded with ideas and pasts. Priced at €2200 each.

Augusta Edwards (here): Ernest Stone was a disc jockey and actor in New York City throughout the 1960s, 1970s, and 1980s, but it wasn’t until after his death in 1992 that his work as a photographer became known. This refined study of crumpled paper bags has an echo of Morandi, with simple vase-like shapes allowed to speak for themselves. Priced at €1650.

Yumiko Chiba (here): At first glance, Kenryou Gu’s triptych view of an Okinawa forest looks woven, as if the dark areas of greenery have been stitched together or unraveled. It turns out that Gu’s works are made from four layers of sandwiched imagery, which he has then hand-edited pixel by pixel, revealing one of the four images and discarding the other three. The results collapse our perception of the forest into a multi-faceted reality, not one view or moment, but many interwoven together at the same time. Priced at $4200 for the set of three prints.

POETIC SCAPE (here): This diptych by Toshiya Watanabe documents two versions of the same scene, one taken near Fukushima in 2012 just after his hometown was declared a no-entry zone (after the tsunami and nuclear disaster), the other three years later in 2015. With no human presence, the city is slowly returning to nature, with weeds and vines taking over. It’s a time-lapsed vision of encroaching decay, with the contours of everyday life incrementally disappearing. Priced at €4800.

Persons Projects (here): This large scale treescape by the Finnish photographer Santeri Tuori shimmers with unexpected complexity. Up close, the woodland view reveals itself as a composite of many layered images, in positive and negative tonalities, in black-and-white and color, and of differing trees, the density of the branches and leaves amplified by the process. Priced at €14500.

DİRİMART (here): The cycle of life flows through the recent project “She Remains” from the Turkish fashion photographer Cihan Öncü. Here a pregnant woman rests in a baby pool, soaking in water so overfilled with flower petals that it seems to take on its own undulating shape. Priced at €2000.

Huxley-Parlour (here): This booth was a solo presentation of recent work by the British photographer Jamie Hawkesworth. The series was made along the rocky coast of Alt Empordà in Spain, the craggy cliffs here frontally interrupted by the intruding form a blurred flower, making the landscape composition much more intimate. Priced at €12000.

Loft Art (here): Satellite dishes inexplicably adorn the heads of the figures in the Moroccan photographer Hiba Baddou’s recent project “Paraboles”. The dishes are a powerful visual symbol of technological connection to the larger world and the aspirations and dreams that come from that interaction, but also of the intrusion those ideas bring to existing cultural traditions. This conflict gives the images their surreally absurd tension, reminding us just how odd it is to be a slave to that feed. Priced at €5200.

Loft Art (here): Almost by definition, an oasis is a beautiful place in the desert with abundant water, leafy plants, and perhaps some date palms. But M’hammed Kilito’s image shows us what climate change is doing to desert oases. There is a resigned desperation to the pose of the man looking down this ugly concrete well, with no evidence of surrounding water anywhere. It’s a quietly bleak picture of our current (and future) reality, with survival very much hanging in the balance. Priced at €4650.

OSMOS (here): Catherine Delattre’s late 1970s images of her family home in Monongahela, Pennsylvania, have all the hallmarks of 1970s American color photography – the saturated colors, the dated interiors, and the strong sense of place. Here the tonal interaction of the pink tile, the green flooring, the pink toilet seat, and the flowered shower curtain creates compositional balance, matching bold color and a dingy sense of the mundane. Priced at $6500.

Galeria Monopol (here): The Polish artist Maria Michałowska came to New York in the 1970s and immediately began to conceptually unpack the city. Here she starts with a skyline image, which she turns into a series of outlines, which she then unravels and reassembles. It’s a smartly intellectual dissection of the fabric of the city, derived solely from the contours of the buildings. Priced at €5000.

Tintera (here): The French painter and photographer Bernard Guillot spent roughly four decades making images in and around Cairo, Egypt, his efforts taking shape as a project called “La Cité des Morts”. This booth was a solo presentation of this body of work, and many of the images exhibit careful attention to light and shadow as they play across walls and other built surfaces. In this scene, the front facing wall is bricked up and mute, leaving us with blankness, and yet between the cast shadow of a nearby fence and the dark edge of the intersecting wall, there is a distinct sense of space and presence. Priced at €5500.

Ab-Anbar (here): This booth featured a dense installation of 45 black-and-white images made by the Iranian photographer Mohammad Ghazali at the ancient site of Persepolis. But Ghazali’s pictures don’t offer us predictable views of archaeology; they instead document the concrete and rebar of new construction taking place there, with unfinished pillars and piles of dirt providing his main compositional elements. The images are consistently crisp and rigorous, like the kind Lewis Baltz might have made, in a sense reclaiming the site for a new future. Priced at €9000 for sets of 5 prints.