An exhibition of August Sander’s prints, made by his son, Gunther, features some of the most iconic portraits of the twentieth century.
A review of PCR, Wolfgang Tillmans’ first exhibition with David Zwirner Gallery, by Gabriel H. Sanchez.
Trevor Paglen’s new exhibition at Metro Pictures focuses on the unseen images of the Internet.
Diana C. Stoll reviews Ken Abbott’s new exhibition at the Asheville Art Museum, North Carolina, which focuses on the day-to-day of a prominent local farm.
On Josef Astor’s recent exhibition at Participant Inc., New York, which connects photography, installation, and dance.
A review of Gillian Laub’s work, Southern Rites, which documents the residents of a Southern U.S. town that held racially segregated proms.
A review of Candida Höfer’s recent show at Sean Kelly Gallery, New York.
Tate Britain’s first-ever exhibition to focus on a living photographer features the work of Nick Waplington
Two exhibitions highlight collections of art and oddities belonging to some of today’s most prominent photographers.
In How We See, Laurie Simmons revisits familiar territory, posing models in staged scenes emulating doll-like figures.
Janet Delaney: South of Market gives a glimpse of a bygone San Francisco, before Silicon Valley and soaring rents defined the city
A review of Thomas Demand’s multiple exhibitions now on view in Los Angeles.
A new exhibition at Tate Modern, London, presents photographs of war arranged by how soon after the event the photograph was made.
Alix Cléo Roubaud is virtually unknown, but an exhibition in Paris sheds light on her ethereal photographs.
A new exhibition at Hasted Kraeutler in New York features the portrait photography of Martin Schoeller.
A review of “Constructing Worlds” at Barbican Art Gallery.
Aperture Editor Michael Famighetti on work featured during the 2014 FotoFocus Biennial.
Noemi Smolik reviews Thomas Ruff’s new show at the Kunsthalle Dusseldorf.
An essential look at the vital photography scene of South Korea’s capital.