Garry Winogrand, New York, ca. 1963, gelatin silver print, 9 × 13 3/8".

Garry Winogrand

Pace/MacGill Gallery

Garry Winogrand, New York, ca. 1963, gelatin silver print, 9 × 13 3/8".

This incisive exhibition at Pace/MacGill—which opened simultaneously alongside the installation of a major traveling retrospective of Garry Winogrand’s work at the Metropolitan Museum of Art, New York—focuses on six of the Bronx-born photographer’s core subjects: Texas, Central Park, zoos, women, public relations, and the streets of New York. Together, the photographs exemplify Winogrand’s keen yet skeptical eye as he dealt with American culture at the height of its pre–Vietnam War prosperity and self-confidence.

On the basis of these thirty-six works, one could class Winogrand as an American Scene photographer, on the model of an American Scene painter, with the difference that his America is largely urban (and sometimes urbane), while the America of the painters was largely rural and mythically self-reliant. Winogrand’s American Scene is peculiarly obscene; he pulled

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