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Wolfgang Tillmans in Paris, Carrie Mae Weems in Turin, Kunié Sugiura in San Francisco, and more—here are this season’s must-see photography exhibitions.

For Aperture’s summer issue, “Liberated Threads,” guest editor Tanisha C. Ford explores fashion’s ability to create possibilities for solidarity and selfhood across the African diaspora.

German artists have often used typologies to help us understand the world. But an exhibition in Milan parades photography’s failures: to document, to mourn, to bend experience into arcs of narrative.

The late photographer documented labor, migration, and the Earth’s fragile ecosystems with empathy and visual power.

In her photographs of Vietnam and the US, Lê masterfully uses blurred motion and stillness to reclaim the semiotics of war.

Jason Fulford speaks about the obsessions he shares with the beloved artist and designer.

In the Florida island town of Longboat Key, the photographer—and winner of the 2025 Aperture Portfolio Prize—portrays a home upended by loss.

When Sara Abbaspour returned to Iran after working in the United States, she found a new way of photographing her home country.

Rather than making documentary images of the war itself, Daria Svertilova focuses on her friends and acquaintances—and the emotions of resistance.

Hashem Shakeri’s photographs show the texture of daily life in a place the rest of the world has seemingly forgotten.

Emma Ressel’s dioramas question our relationship to animals and the environment in an era of climate anxiety.

Khader’s photographs of people in conflict zones across the Middle East document violence and grief alongside moments of tenderness and reprieve.

For the celebrated artist, photographs have always been a reference.

A retrospective at the Brooklyn Museum introduces the photographer to a new generation—and reestablishes her place in the canon of modern American art.

In Bangladesh, Sarker Protick combines the impulses of a photojournalist with the intuition of a musician, unpacking questions about photography’s relationship to time and memory.

Bruce Weber, Keith, Pete's Rock Campground, Adirondack Park, New York, 1990

Weber’s ad campaigns for Abercrombie & Fitch and Calvin Klein made him one of the most prestigious names in photography—until he was accused by male models of unwanted advances. Will a recent exhibition reshape his legacy?