o. Winston Link: Hot Shot

Double Portraits unfolds as a thoughtful and layered exploration of the American South — not as a single story, but as a tapestry woven from memory, presence, and human connection. Running from October 25, 2025 through January 11, 2026 at Holmes Gallery, the exhibition presents 47 photographs by 34 artists, each offering a distinct interpretation of the “double portrait” concept. At first, the show opens with intimate, classical portraiture: images where two individuals stand clearly in frame, their identities visible and distinct. These photographs adopt traditional formal structure, giving weight to presence, dignity, and connection through composition and clarity. In these images, the gaze meets the viewer’s directly, establishing a bond that is both personal and universal. As the exhibition progresses, the style shifts toward more vernacular aesthetics. Artists adopt a snapshot sensibility — spontaneous, casual moments captured in real time. Here, double portraits become informal records of life: friends leaning together, family members sharing a glance, or couples caught mid-conversation. These frames rely less on formal posing than on the emotional resonance conveyed by gesture, posture, and timing. In their everydayness lies intimacy, immediacy, and honest humanity. The third section deepens this intimacy by focusing on connection and care: two bodies in a scene suggest shared history, subtle interaction, and unspoken bonds. A hand resting on a knee, a sideways glance, the soft play of light — these details invite viewers into the emotional spaces between people, evoking empathy and reflection even without knowing their stories. Finally, the exhibition challenges the traditional double portrait altogether. In its most experimental section, artists explore mirrors, reflections, photographs within photographs, and fragmented compositions. Subjects may be partially obscured, duplicated, or implied rather than shown. In doing so, these works emphasize presence through absence — suggesting identity, memory, and relationship through form, shadow, and suggestion rather than full depiction. Together, the photographs of Double Portraits map a nuanced, resonant portrait of the South — its people, its stories, and its shifting social landscapes. Through varied styles and approaches, the exhibition reveals the many ways photography can capture human connection: visible and hidden, declared and implied, static and transient. Image: Preston Gannaway, Twins, 2013. Archival pigment print,12 ½ x 17 ¾ inches. The Do Good Fund, Inc., 2017-105. © Preston Gannaway

Between a Memory and Me features the work of Rahim Fortune (b. 1994). Born in Austin, Texas and raised in the Chickasaw Nation of Oklahoma, Fortune uses photography to interrogate American identity, exploring the connections between the families and communities he photographs and the land they inhabit, the histories embedded in the landscape of the American South, and the traditions they carry forward. Fortune’s black-and-white photographs from his Hardtack project weave together tender and reverent portraits, vast landscapes, and close-detail studies. Through a focus on Black American life, these words both draw from the history of photography and reframe the history of photographic representation of the South. The work is also deeply personal: it emerged from the artist seeking connection, kinship, and home following the loss of both of his parents. Fortune’s new color photographs, created in response to the Texas African American Photography archive, are exhibited here for the first time. His short film takes us through the fields and roads of rural Texas, lingering lovingly on quiet, exquisite details. This presentation includes new photographs originally commissioned by Aperture and Documentary Arts.

A Subllime Obsession: Photographs from the Hazlitt Collection showcases a bold mix of black & white and color photographs drawn from one collector’s deeply personal archive. Featuring standout works by Ansel Adams, Robert Adams, William Eggleston, Joel Sternfeld, Justine Kurland, and many more, the exhibition captures everything from sweeping landscapes to offbeat street scenes and striking portraits. Whether in the tonal precision of silver gelatin prints or the saturated hues of dye transfers, these photographs reveal a collector’s eye attuned to beauty, complexity, and the unexpected moments that make photography unforgettable. This is not just a collection, it is a passion illustrated through the lens. This exhibition is made possible through the support of Trenam Law and the Hillsborough County Board of County Commissioners. Image: William Eggleston (American, b. 1939) Untitled, 1971, printed later, dye transfer print, Hazlitt Collection

Language and Image: Conceptual and Performance-based Photography from the Jorge M. Pérez Collection brings together more than 100 works by over 50 international artists. In line with our mission and vision—one that is shared by our patrons’ passion for collecting—the artists come from all over the planet but artists from Latin America and the African diaspora play a significant role. Celebrated artists who have made innovative works of art for decades, such as Marina Abramović, Thomas Ruff, Cindy Sherman, and Thomas Struth are featured alongside artists like Jonathas de Andrade, María Magdalena Campos-Pons, Ana Mendieta, and Vik Muniz, among others who have been presented at the museum frequently in the past. Since the 1960s, photography has been used as an important medium for contemporary artists to tell stories and create narratives — a language. Photography became the paramount way artists created art, documenting time-based works like performances and moving-image works, such as video installations, into still objects. Photography has been an integral part of PAMM’s collection and its growth since we became a collecting institution almost thirty years ago, in 1996. The first major show to present the medium as its central subject took place in 2005. Organized with museum patron Charles Cowles and then director Terrence Riley, The Machine, the Body and the City: Selections from the Charles Cowles Collection celebrated a large donation of 100+ photographs. In 2013, when we opened in our new building, curator Diana Nawi organized Image Search: Photography from the Collection. In 2019, on the occasion of the museum’s 35th Anniversary, Ford Foundation Fellow Ade Omotosho organized a significant selection of photographs with new research and many works that had recently been acquired. Language and Image celebrates that history while paving a new path. PAMM’s collection is heavy in works of 20th-century art prior to 1960, and this exhibition aims to create a bridge between our collections and celebrate new works coming into PAMM’s collection from the Jorge M. Pérez Collection. Image: Thomas Struth. Grab von Lu Xun, Shanghai, 1997 (Tomb of Lu Xun, Shanghai, 1997). Chromogenic print, face-mounted to plexiglass, in artist’s frame. Edition 3/10. 71 1/4 x 85 15/16 inches. Jorge M. Pérez Collection. © Thomas Struth

El Museo del Barrio presents the first major U.S. survey dedicated to the work of Cuban-American artist and writer Coco Fusco, one of the most incisive voices in contemporary art. On view under the title *Tomorrow, I Will Become an Island*, the exhibition spans more than thirty years of creative practice, revealing the evolution of an artist whose work probes the intersections of politics, identity, and power. Through film, photography, performance, and writing, Fusco has long examined how cultural narratives are constructed and who controls the means of representation. Since the 1990s, Fusco has forged a distinctive path through conceptual and performance art, often confronting themes of race, gender, and postcolonial history. Her seminal performance *Two Undiscovered Amerindians Discover the West*, created with Guillermo Gómez-Peña, remains a landmark critique of Western ethnography and cultural exhibition. In more recent years, she has turned her attention to post-revolutionary Cuba, exploring censorship, exile, and the shifting realities of freedom. The exhibition brings together installations, videos, and photographs that trace these ongoing concerns, offering a panoramic view of her intellectual and aesthetic journey. Fusco’s contributions extend beyond the visual arts. An accomplished author and critic, she has published widely and regularly contributes to major publications such as The New York Review of Books. Her most recent monograph, also titled *Tomorrow, I Will Become an Island*, serves as both a companion and a reflection of her enduring engagement with questions of identity, resistance, and belonging. Recognized with numerous fellowships and awards, Fusco’s influence is felt across generations of artists and thinkers. Organized by Susanna V. Temkin and Rodrigo Moura, this exhibition affirms her position as a vital force in contemporary art and cultural discourse. Image: Coco Fusco, A Room of One's Own: Women and Power in the New America , 2006-2008. Performance documentation. Courtesy the artist and Mendes Wood DM. © Coco Fusco

The National Gallery of Art presents Photography and the Black Arts Movement, 1955–1985, an exhibition exploring the work of American and Afro-Atlantic diaspora photographers in developing and fostering a distinctly Black visual culture and identity. The first presentation to investigate photography's role in the Black Arts Movement, a creative initiative comparable to the Harlem Renaissance in its scope and impact, which evolved concurrently to the civil rights and international freedom movements, the exhibition reveals how artists developed strategies to engage communities and encourage self-representation in media, laying a foundation for socially engaged art practices that continue today. Photography and the Black Arts Movement will be on view in the West Building from September 21, 2025, to January 11, 2026, before traveling to California and Mississippi. Photography and the Black Arts Movement brings together approximately 150 works spanning photography, video, collage, painting, installation, and other photo-based media, some of which have rarely or never been on view. Among the over 100 artists included in the exhibition are Billy Abernathy (Fundi), Romare Bearden, Dawoud Bey, Frank Bowling, Kwame Brathwaite, Roy DeCarava, Louis Draper, David C. Driskell, Charles Gaines, James E. Hinton, Danny Lyon, Gordon Parks, Adrian Piper, Nellie Mae Rowe, Betye Saar, Raymond Saunders, Jamel Shabazz, Lorna Simpson, and Carrie Mae Weems. This expansive selection of work showcases the broad cultural exchange between writers, musicians, photographers, filmmakers, and other visual artists of many backgrounds, who came together during the turbulent decades of the mid-20th century to grapple with social and political changes, the pursuit of civil rights, and the emergence of the Pan-African movement through art. The exhibition also includes art from Africa, the Caribbean, and Great Britain to contextualize the global engagement with the social, political, and cultural ideas that propelled the Black Arts Movement. "Working on many fronts—literature, poetry, jazz and new music, painting, sculpture, performance, film, and photography—African American artists associated with the Black Arts Movement expressed and exchanged their ideas through publications, organizations, museums, galleries, community centers, theaters, murals, street art, and emerging academic programs. While focusing on African American photography in the United States, the exhibition also includes works by artists from many communities to consider the extensive interchange between North American artists and the African diaspora. The exhibition looks at the important connections between America's focus on civil rights and the emerging cultural movements that enriched the dialog," said Philip Brookman, cocurator of the exhibition and consulting curator of the department of photographs at the National Gallery of Art. "Photography and photographic images were crucial in defining and giving expression to the Black Arts Movement and the civil rights movement. By merging the social concerns and aesthetics of the period, Black artists and photographers were defining a Black aesthetic while expanding conversations around community building and public history," said Deborah Willis, visiting cocurator, university professor and chair of the department of photography and imaging at the Tisch School of the Arts and founding director of the Center for Black Visual Culture at New York University. "The artists and their subjects helped to preserve compelling visual responses to this turbulent time and their images reflect their pride and determination." Image: James Barnor "Drum" Cover Girl Erlin Ibreck, Kilburn, London, 1966, printed 2023 chromogenic print image/sheet: 50 x 60 cm (19 11/16 x 23 5/8 in.) mat: 25 x 25 in. frame: 25 7/8 x 25 7/8 in. National Gallery of Art, Alfred H. Moses and Fern M. Schad Fund, 2025.26.3 © James Barnor / Courtesy Galerie Clementine de la Feronnière

Everyday Culture presents seven key projects by Documentary Arts over the past forty years that focus on tattooing, blues music in Texas, Black cowboys and rodeos, folk artists, Texas-Mexico border culture, urban street life in Dallas, and vernacular photography. Represented through photographs, films, music, and folk art, the materials in Everyday Culture point to previously marginalized or ostracized cultural forms that have largely gone mainstream and are now part of America’s vibrant cultural heritage. The exhibition’s presentation of these creative expressions, once seen as the purview of “outsiders,” preserves materials and practices from the 1970s and 80s. And it demonstrates how the past four decades have brought a sea-change to art that is considered worthy of attention and serious consideration. The non-profit organization Documentary Arts was founded in 1985 by Alan Govenar, a Guggenheim Fellow and interdisciplinary artist, historian, and folklorist whose expansive career has been at the edge of advancing public dialogue about a kaleidoscope of overlooked voices across America. In a multitude of ways, Govenar and his work with Documentary Arts has unearthed America’s grassroots stories in cities, sprawling suburbs, and out-of-the way rural towns. Over the past 50+ years, Govenar has authored more than 40 books, directed 20+ documentary films, created Off-Broadway musicals, and had his photographs and artist books featured in numerous exhibitions and public collections Documentary Arts is a network of like-minded collaborators, from a cross-section of academic disciplines and creatives, in Dallas and New York City, focused on advancing essential perspectives on art revolving around themes of change and the interconnectedness of diverse people and the potential for finding harmony in unexpected places. Curated by CPW Executive Director Brian Wallis, Everyday Culture will be accompanied by a book of the same title, published by CPW, co-authored by Wallis and Govenar. Image: Alan Govenar, Valle Nuevo, Mexico, 1994. Courtesy the photographer.

The Los Angeles County Museum of Art presents an exhibition centered on Youssef Nabil’s evocative video I Saved My Belly Dancer (2015), now part of the museum’s collection. Designed to recall the golden era of mid-century Egyptian cinema, the presentation immerses viewers in the atmosphere of the theaters where Nabil’s artistic imagination first took shape. Alongside the film, eleven related photographs extend the narrative through still images, complemented by vintage Egyptian movie posters that anchor the work within its cultural and cinematic lineage. Born and raised in Cairo, Nabil grew up captivated by the glamorous, melancholy world of classic Egyptian films. His art revisits that lost era, blending nostalgia with personal reflection. In I Saved My Belly Dancer, actor Tahar Rahim embodies the artist’s alter ego, while Salma Hayek portrays the dancer—an archetype both celebrated and misunderstood. Together they navigate a surreal landscape that oscillates between memory and reverie, love and loss, illusion and truth. Through their haunting performances, Nabil pays homage to the sensual grace of the belly dancer, once an emblem of freedom and artistry in Arab culture but later constrained by social and political shifts. The visual language of the work heightens this tension between beauty and disappearance. Each frame and photograph is hand-painted by Nabil, using delicate layers of color that infuse the imagery with warmth and unreality. His process recalls early photographic techniques while transforming them into something distinctly contemporary—a cinematic dream suspended in time. Through his meticulous craft, Nabil reclaims a fading cultural identity, merging film, photography, and memory into a poetic meditation on heritage, exile, and desire. The result is a deeply personal elegy to both a vanished art form and the timeless power of imagination. Image: Youssef Nabil, I Saved My Belly Dancer #XXIV, 2015, Courtesy of the artist, © Youssef Nabil

Kinship & Community presents approximately 50 photographs from the Texas African American Photography Archive that span a period from the 1940s to the 1980s. Co-curated by Nicole R. Fleetwood, the exhibition provides an overview of African American photography in rural and urban areas of Texas, underscoring the community photographer’s role in shaping and bolstering self-esteem by documenting local life and culture. Kinship & Community includes studio portraits, school photos, parades, protests and other gatherings. It brings the ordinary world of Black Texans–their social and political doings–out of the shadows and onto the center stage of daily life. The Texas African American Photography Archive was founded by Alan Govenar and artist Kaleta Doolin in 1995 with collections assembled by Documentary Arts over the last forty years. The Archive provides a broad overview of African American photography in rural and urban areas of Texas, spanning the period from the 1870s to the present, and representing a variety of processes and makers. The Archive is unique in its comprehensiveness and consists of over 60,000 images and more than 20 oral histories collected from African American photographers. Nicole R. Fleetwood is a renowned writer, curator, art critic, New York University Professor, and MacArthur Fellow. She is the author of the award-winning Marking Time: Art in the Age of Mass Incarceration and has curated numerous groundbreaking exhibitions that center Black cultural production, incarceration, and vernacular photography. Curated by Nicole R. Fleetwood and CPW Executive Director Brian Wallis, Kinship & Community will be accompanied by a catalogue published by Aperture. Image: Josie Washington, [Social Tea, Dallas, Texas], 1955. Hand-colored gelatin silver print. Collection Texas African American Photography Archive, Dallas, TX.

Leica Gallery New York presents Within One Breath, a new exhibition by Matt Draper, on view from November 6 through January 11, 2026. This body of work unveils Draper’s mesmerizing underwater photography, marking his debut with the gallery and offering viewers an encounter with the mysterious beauty of the ocean’s depths. Draper’s approach unites technical precision and poetic vision. Working exclusively with Leica cameras, he has dedicated years to perfecting his underwater practice, developing a seamless dialogue between human ingenuity and the natural world. His pursuit led to the founding of SUB13, an industrial design company that crafts underwater housings for Leica cameras. These housings are not merely functional tools; they stand as objects of design, shaped by the same philosophy of craftsmanship and aesthetic integrity that defines Leica itself. The exhibition represents more than a decade of Draper’s commitment to refining his process. Each image embodies both the discipline of craft and the sensitivity of artistic intuition. His photographs, often captured in a single breath, reveal marine life suspended in a state of quiet majesty—creatures rendered with a painterly delicacy and a profound respect for their environment. Every Matt Draper print belongs to a limited and carefully curated edition, collected internationally and often sold before public display. His work exists at the intersection of science, design, and fine art—a meditation on endurance, fragility, and the unseen harmony of underwater ecosystems. At the exhibition’s opening, Draper will unveil a specially designed Leica underwater housing created in collaboration with SUB13, soon to join the permanent collection of Leica Gallery New York. A personal walkthrough and champagne toast with the artist will take place on January 8, inviting visitors to immerse themselves, photograph by photograph, in the stillness and wonder of Within One Breath. Image: © Matt Draper

John Gutmann and Max Yavno were two photographers whose work captured the pulse of modern American life through distinctly different yet complementary visions. Both found inspiration in California’s evolving urban landscapes during the mid-twentieth century—a period marked by transformation, optimism, and growing cultural complexity. Gutmann, who escaped Nazi persecution in Germany in 1933, settled in San Francisco, while Yavno, originally from New York, moved west in 1945 to live and work between San Francisco and Los Angeles. Their photographs reflect a fascination with the character of American cities, from car-filled streets and commercial signage to the rhythms of everyday life and leisure. Gutmann brought a European sensibility to his new surroundings, translating the visual energy of Expressionism into photography. His compositions often employ dramatic diagonals, bold contrasts, and unexpected angles that make the familiar appear strange. Trained as a painter, he used the camera as a tool of reinvention—documenting not just what he saw, but how it felt to encounter a new world through fresh eyes. In his images, California emerges as a place of modern dynamism and visual surprise, its ordinary details transformed into poetic symbols of change. Yavno, on the other hand, approached the city with a more measured and sociological lens. His photographs present clear, structured observations of urban life—street scenes, architecture, and the people who animated them. Where Gutmann found expressive distortion, Yavno sought clarity and social resonance. His images reveal the complexity of postwar America, balancing human individuality with the collective patterns of modern society. Together, Gutmann and Yavno chart two distinct but intersecting paths in twentieth-century photography, revealing California as both a stage for modern experience and a mirror of broader American ideals. Their works remain enduring studies of how vision, culture, and place shape one another. Image: Max Yavno, Cable Car, San Francisco, 1947. Gelatin silver print. Museum of Photographic Arts at The San Diego Museum of Art; Bequest of Max Yavno Estate, M.1988.029.014. © Center for Creative Photography, The University of Arizona Foundation.

Jon Henry’s project Stranger Fruit emerges from a place of anguish, urgency, and unyielding love—a visual response to the ongoing crisis of police violence against Black men in the United States. Built around the haunting question, Who is next? the work reflects the fear carried by families and communities who live with the knowledge that loss can arrive without warning. Through photography and text, Henry creates a space where that fear is acknowledged, honored, and confronted head-on. For years, Henry traveled across the country, inviting Black mothers to hold their sons in compositions inspired by Renaissance depictions of the Virgin Mary mourning Christ. The resulting portraits, both tender and devastating, reveal the sacredness of each life and the weight of a grief that could be. In some images, the mothers stand alone, embodying the quiet terror of that possible absence. Their written reflections, included in the project, articulate a truth too many know: while their sons are alive, the shadow of potential loss is constant, unshakable. For this installation, Henry revisits his archives, bringing forward maps, documents, and materials that trace the evolution of the project. This gesture of openness offers visitors an intimate understanding of the labor—creative, emotional, and logistical—required to sustain a long-term artistic inquiry rooted in social justice. It is an invitation to witness not only the final images but the process that shaped them. Henry’s broader practice draws from the complexities of family, trauma, and resilience within the African American community. His photographs have been exhibited widely, recognized for their cultural activism and their ability to hold both sorrow and strength in a single frame. As a faculty member at the International Center of Photography, he continues to guide emerging imagemakers with clarity and conviction. Presented as part of the ICP Incubator Space program, this exhibition highlights work created in response to the world as it is now—urgent, searching, and unafraid to confront the truths we live with. Image: Jon Henry, Untitled #36, North Minneapolis, MN © Jon Henry