Second-generation (read post-1968) Magnum photojournalist Raymond Depardon mixes traditional hand-camera lyricism with a measure of political purpose. Less combat-oriented than Robert Capa but not so dandyish as Henri Cartier-Bresson, Depardon was as astute in documenting third-world liberation movements as he was alive to the peculiarities of contemporary French life. His self-selected eighty-print retrospective raises important questions: To what degree does the Magnum idea of politicized, mass-media reportage retain its efficacy in a postmodern world? And will the context of the museum reduce Depardon's pictures to the status of simply beautiful objects?

— Andy Grundberg