Michael Hoppen Gallery (here): The steepness of this straight down Modernist view from Kansuke Yamamoto (made in 1932-1933) flattens and distorts this ordinary street scene in unexpected ways. The figures are collapsed down, with elongated shadows that seem to be walking in the street, while the buildings and windows have been transformed into geometric blocks of monochrome color and pattern. Priced at $37500.

Peter Fetterman Gallery (here): Multiple frames within frames enliven this 1960 Venetian ferry image by Gianni Berengo Gardin. Various small scenes take place simultaneously as pass throughs, reflections, or framed encounters, with figures visually blocked and arranged as if in separate compartments. Printed later, and priced at $6000.

Galerie XII (here): Patrizia Mussa’s images of Italian theater interiors have a surprising degree of lightness, as though they have been washed out and softened into ethereal whiteness. Up close, her prints have been hand colored and perhaps erased, creating areas of both watercolor-like indistinctness and shining brightness. She’s interpreting architecture rather than documenting it, infusing the spaces with her own brand of potential energy. Priced at $4200.

Ilaria Quadrani Fine Arts (here): This 1998 blurred view of the Chrysler Building by Hiroshi Sugimoto is at this point something of a predictable classic, but as an inspired interpretation of a New York icon, such a picture never really goes out of style. If you were looking for a recession-proof photograph to buy, this wouldn’t be a bad bet. And the highlights on the side of the building dissolve into lovely painterly approximation. Priced at $56000.

Scott Nichols Gallery (here): It’s probably unfair to pigeonhole William Garnett as an aerial photographer; somehow such a designation seems to limit how we might interpret or value his artistic achievements. But nearly all of those who have taken to the air since walk (or fly) in his footsteps, especially those who have turned aerial views of the land into lyrical near abstractions. In this 1951 work, Garnett looks at the regular lines of plowed fields, turning them into what looks like a curtain with a frilled bottom, partially pulled back. A 1970s print, priced at $11000.

Yancey Richardson Gallery (here): With buried echoes of Ana Mendieta and David Wojnarowicz, Jennifer Calivas covers herself with sand in this recent self-portrait. The work is part of a larger series of buried and otherwise covered (with dirt, water, seaweed etc.) setups, where the artist is smothered or consumed by the earth, leaving only her hand with the shutter release. Priced at $8000.

Robert Mann Gallery (here): This booth was a double shot of sorts, combining a survey of gallery artists and a solo presentation of the work of Cig Harvey. This 2019 image brings together many of Harvey’s photographic strengths – romantic lyricism, an eye for rich color, and a reverent connection to nature. It’s a relatively simple setup, executed with seductive lushness, especially that sinuous emerald green/blue drapery. Priced at $7000.

Galerie Olivier Waltman (here): In Budapest in the 1960s, Gyula Zaránd was just getting his start as a photographer. This image was made when he was still in his early 20s, and captures a tender, perhaps even drunken, moment in a bar, where two men talk with face-to-face intimacy. I like the temporary balance in the composition, where the angles of the mens’ backs surround the arm holding the beer. Priced at $6500.

19th Century Rare Book & Photograph Shop (here): This booth featured a large collection of 19th century portraits of photographers, many made by Mathew Brady or his studio. While a
handsome Timothy O’Sullivan portrait (in a somewhat oversized suit) was certainly a tempting choice, this Brady image of Andrew Gardner in a fringed leather coat and cowboy hat ultimately won out. Being sold as entire collection, priced at $120000.

Aperture Portfolio Prize (here): This booth gathered together the five shortlisted artists for the 2025 Aperture Portfolio prize. This 2023 portrait of a young Ukrainian woman by Daria Svertilova stood out in this crowd, mixing the personal symbols of her subtle colored eyeliner, her roughly cut short hair, and her military camouflage. Priced at $850.

Vintage Works (here): The shining ball, the sequins on the young woman’s dress, and the sparkled headpiece give this 1908 gum bichromate portrait by George Seeley some understated magic. The tactile soft focus aesthetic feels elegantly flattering, perhaps telling a story of aspirational glamour. Priced at $18000.

CLAMP (here): CLAMP has recently established a new representation relationship with the estate of Arlene Gottfried, as evidenced by the inclusion of a few of her works in its booth. This 1980 portrait made on Easter Sunday is a study in high contrast black and white – streamlined and stylish, and ready for a New York event. Priced at $5500.

Monroe Gallery of Photography (here): There is a contagious playfulness is this 1951 fashion shoot captured by Tony Vaccaro. What’s not to love about the pitcher of water poured over the umbrella to create rain, with the city skyline in the background? If there is actual fun to be found in the images on view at a photo fair, this is what it looks like. Priced at $4000.

Danziger Gallery (here): Jim Krantz is best known for his images of the American West, particularly those of cowboys set against the wide landscapes there. This fresh work (from 2025) continues that line of thinking, with a rising (or jumping) horse and rider set against an expansive cloud bank. The color gradient of blue to pink in the background sky gives the image an additional feel of mythical grandeur. Priced at $22000.

Stephen Bulger Gallery (here): This booth was a solo presentation of the photographic works of Shelley Niro, an indigenous artist from Canada. Titled “History of the World” (from 2017), these works combine landscape backdrops with images of fossils and ancient bones, flanked by the two sides of now-obsolete buffalo nickels, uneasily mixing the past and present with charged symbols. Priced at $24000 each.

Bruce Silverstein Gallery (here): Keith Smith’s collages, artist’s books, and other hand-crafted photo-based works, particularly from the 1960s and 1970s, deserve more attention than they currently get. This layered composition of photographs on acetate (2 sheets) and an underlying drawing is part of a 1969 book with numerous meticulously constructed images. Each of the fluttering wisps in this work is a photographic image, with fragments of faces and identities hovering in the air. Priced at $60000 (for the entire book object).

Holden Luntz Gallery (here): In the past few years, Roger Ballen has started to work in color more regularly, giving his surreally psychological setups and assemblages a newly charged mood. This work from 2020 hits many of Ballen’s signature motifs, from chalked lettering and snakes to twists of wire and disembodied dolls. Priced at $16000.

Alta (here): This booth was a solo presentation of the Spanish photographer Txema Yeste’s recent project “Needles”. Likely better known for his fashion photography than his still lifes, he’s used the elemental evergreen needles as sculptural objects and mark making tools, as seen in minimal works like this one, where two needles (and their shadows) are elegantly intertwined. Priced at $7000.

Bildhalle (here): Folded paper moons tumble and fall like sparkling raindrops against an enveloping black backdrop in this recent (2024) image by Paul Cupido. Seen in the lush tones of carbon on Japanese kozo paper, this object-quality print is richly tactile, highlighting the subtle mottling of the paper surfaces. Priced at $2800.

Ungallery (here): This booth featured a grid of Polaroid still lifes by the Argentinian photographer Aldo Sessa. Here the elegant simplicity of apples in a woven bowl is set against the surfaces of the tabletop and the nearby wall, creating a harmonious interplay of warm colors and shadows. From 1991, priced at $2000.

Catherine Couturier Gallery (here): Cara Barer’s recent works turn paper maps into intricate radial blossoms. Folds, curves, and spirals are set on edge, like a dense cross section, with land masses and oceans decorating the surfaces and edges. Priced at $3200.

Galerie Bruno Tartarin (here): Even though this image was made in the late 1960s (by a now unknown photographer), it has an almost futuristic feel. A silhouetted body stands in front of the Mont-Louis solar furnace (in France), the massive circular mirror array designed to gather and channel sunlight. The confident pose of the figure and the impressiveness of the technology, as seen in reversed tonalities, has a “man harnessing the power of nature” swagger. Priced at $2000.

Echo Fine Arts (here): This innovative image by Jan C. Schlegel captures a jellyfish from the top down, accenting its rounded form. It’s an extremely precise view, documenting even the thinnest of tendrils that reach out from the sides, the entire composition resembling the circular bloom of a flower. Priced at $4500.

Rick Wester Fine Art (here): This booth was a solo presentation of recent works by Amanda Marchand and Leah Sobsey, which have been inspired by the gardens (and poetry) of Emily Dickinson. This image comes from the “Herbarium” series, which reimagines plates from Dickinson’s own books on plant specimens, reprinted as anthotypes using the actual pigments of the specific plants themselves. This soft grey/purple comes from (and documents) the poppy, drifting towards an ethereal delicateness. Priced at $9500.

jdc Fine Art (here): While it’s a bit difficult to see, S. Billie Mandle’s image captures a flare of light off the wallpaper in Emily Dickinson’s bedroom. That fleeting presence of light can of course be read in any number of ghostly or inspirational ways, from unearthly presences to flashes of brilliance. Priced at $2500.

Form. Gallery (here): Chartreuse is the color of the moment in this wall study by Ksenia Malafeeva. The edge of the floor and the wear on the wall give away that this isn’t a pure Rothko-style abstraction, the literal emptiness of the scene turning us back to the intense glow of its color. Priced at $3100.

HackelBury (here): This bold abstract work by Bill Armstrong (from 2023) defeats any attempt by the viewer’s eye to draw it into stable focus. The brash orange and purple blocks shimmer and shift in a kind of evasive vibration, like they might still twist a bit, never quite settling down into something concrete. It is this blurred elusiveness that keeps this picture interesting, its seductive (and perhaps spiritual) glow visible from across the room. Priced at $3500.

MUUS Collection (here): This booth was a solo presentation of the work of Larry Fink, as organized by the owners of the artist’s archive. This particular image (from 1979) centers on the photographer Peter Beard, who is surrounded by a group of friends, whose gestures and expressions interlock in different combinations. The moment has a kind of energetic glamour, where time has stopped for just an instant, preserving the fragile mesh of connections. NFS.

La Galerie de l’Instant (here): In 1971, Dominique Tarlé spent the summer in Nice with the Rolling Stones, documenting their joint period of exile in France. This image of Keith Richards comes from that time, capturing the guitarist driving, with the speed of the road and his huge sunglasses adding to the stylish drama. Priced at $1200.

Cavalier Gallery (here): Not only does this portrait of Stevie Wonder from 1974 by Al Satterwhite capture his joyful musical energy, it does so from the unusual vantage point of the piano he’s playing. This perspective enlarges his hands on the keys, and looks up underneath his microphone as he sings, visually amplifying his contagious vitality. Priced at $10000.

Staley-Wise Gallery (here): Given how often she was photographed, it wasn’t at all easy to make durably original photographs of Marilyn Monroe. But this 1955 image of Monroe on the subway in New York by Ed Feingersh feels surprisingly normal and unguarded, which makes the picture all the more unusual. She seems lost in thought like any other subway rider, but her glamour is undiminished by the humble surroundings. Priced at $2500.

Jackson Fine Art (here): Philip Seymour Hoffman was one of the great actors of his generation, but was notoriously troubled, ultimately dying of a drug overdose in 2014. This 2009 portrait by Sam Taylor-Johnson captures him near the apex of his acting career, but seems to foreshadow the darker personal moments to come. Caught with a bit of blur, in the quiet of a bedroom, it’s an introspective picture, filled with simmering doubt. Priced at $28000.

Gilman Contemporary (here): This booth was a solo presentation of Nick Brandt’s new project “The Echo of Our Voices”. The pictures capture Syrian refugees living in Jordan, who pose perched on boxes amid desert wastes and vistas, where water is scarce and climate change threatens. The black-and-white setups are staged and dramatic, with families and vulnerable children standing with quiet dignity. Priced at $13400.