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DTSTART;VALUE=DATE:20260615
DTEND;VALUE=DATE:20260815
DTSTAMP:20260805T023018Z
CREATED:20260805T023018Z
LAST-MODIFIED:20260805T023018Z
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SUMMARY:Frank Paulin: Unseen Color
DESCRIPTION:Bruce Silverstein Gallery is pleased to present Frank Paulin: Unseen Color\, 1956 – 2008\, the gallery’s fourth exhibition of work by Frank Paulin (1926–2016) and the first devoted exclusively to the artist’s color photographs. Featuring twenty works spanning more than five decades\, from 1956 to 2008\, this exhibition reveals a body of work that remained virtually unknown during the artist’s lifetime. Shot on color film beginning in the mid-1950s\, these photographs were not printed until late in the artist’s career\, making this presentation a unique opportunity to reconsider the history of early color street photography in America. \nPaulin is widely recognized for his black-and-white street photographs of New York City\, work that earned admiring reviews in the New York Times and the Village Voice when it was first exhibited at Helen Gee’s pioneering Limelight Gallery in 1957. What has remained largely hidden is that Paulin was simultaneously working in color\, producing images of remarkable visual complexity on the streets of Times Square\, Fifth Avenue\, Central Park\, and beyond. These color photographs\, made two full decades before William Eggleston’s landmark 1976 exhibition at the Museum of Modern Art that established color as a legitimate fine art medium\, place Paulin among the earliest practitioners of color street photography in the United States\, alongside contemporaries Saul Leiter\, Ernst Haas\, and Ruth Orkin. \nBorn in Pittsburgh in 1926\, Paulin grew up in New York and Chicago. His education in the arts began at the age of sixteen as an apprentice in fashion illustration and photography at the Whitaker-Christiansen Studio in Chicago. In 1944\, he joined the Army and spent two years in the Signal Corps in Europe\, where he developed his documentary eye by photographing the devastation of German cities. After the war\, Paulin enrolled under the GI Bill at the Institute of Design in Chicago\, arriving on the same day Harry Callahan began teaching there. The Institute of Design\, the newly established American successor to the German Bauhaus\, required photography of all students as part of a utopian curriculum that sought to teach students to think in new and experimental ways. Under the direction of László Moholy-Nagy\, Harry Callahan\, and Arthur Siegel\, Paulin refined his documentary skills and absorbed the school’s emphasis on experimentation with light\, form\, and visual structure. \nBy the end of the 1950s\, Paulin’s education also included studies at the New School under the legendary art director Alexey Brodovitch\, whose Design Laboratory classes shaped an entire generation of photographers and designers\, among them Richard Avedon\, Irving Penn\, Art Kane\, and Hiro. The notoriously demanding Brodovitch described Paulin’s Ferry Boat (1957)\, an image of silhouetted figures flanked by the Statue of Liberty seen through geometric reflections of glass\, in a single word: “Monumental.” \nThe color photographs in this exhibition reveal the full expression of these influences. Paulin’s training as a fashion illustrator gave him an instinct for style\, gesture\, and the urban chaos of New York City and the people that inhabit it. His Bauhaus education gave him the tools to see the city as a field of overlapping planes\, reflections\, and collisions of text and image. The result is a body of color work that operates as visual montage: shop windows become screens through which the street is layered against interior displays; neon signage bleeds into the faces of passersby; revolving doors compress the city into kaleidoscopic fragments. The Los Angeles Times\, reviewing the first exhibition of Paulin’s color photographs in 2009\, described them as “vibrant work… layered assemblages of motion\, reflection\, and signage\, the choreography of the city stilled for a brief\, dynamic moment.” \nIn images such as 5th Ave Window Reflection (1956)\, pedestrians on a crowded sidewalk are superimposed against reflections of buildings and sky\, creating a double exposure effect achieved entirely in the camera. Banker Trust and Yellow Cab (1958) compresses the urban landscape through a revolving door into a single swirling frame of glass\, chrome\, marble\, and motion. Window Reflection (1967)\, depicting an advertisement for fever thermometers overlaid with a ghostly street scene\, layers commerce\, the body\, and the city into a single image that reads as both documentation and abstraction. These are not snapshots colored in. They are photographs that could only exist in color\, where the orange of a balloon against an overcast Central Park sky\, the red blur of a Cadillac seen through plate glass\, or the yellow of a taxi dissolving into a chrome door become the structural elements of the image itself. \nThe exhibition also extends beyond midcentury Manhattan. East Hampton 3 Sunz (1997) captures a child and a sunset through layered reflections of a porch window\, and Corn Field (2000) frames a luminous agricultural landscape at the end of a dark motel corridor\, an image that belongs as much to the tradition of American color photography associated with William Eggleston and Stephen Shore as to Paulin’s New York street work. The latest image in the exhibition\, Street Vender & Bunny (2008)\, proves that Paulin never stopped looking at the absurd theater of the American street. \nFrank Paulin’s work is held in over fifty museum and institutional collections\, including the Museum of Modern Art\, Whitney Museum of American Art\, National Gallery of Art\, Smithsonian American Art Museum\, National Museum of American History\, Museum of Fine Arts Houston\, Yale University Art Gallery\, Harry Ransom Center at the University of Texas\, and Center for Creative Photography at The University of Arizona. His only monograph\, Frank Paulin: Out of the Limelight (Silverstein Publishing\, 2007)\, features an introduction by Max Kozloff and was designed by Massimo Vignelli. \nhttps://brucesilverstein.com/exhibitions/240-frank-paulin-unseen-color-1956-2008/overview/
URL:https://jamesmaherphotography.com/event/frank-paulin-unseen-color/
LOCATION:Bruce Silverstein\, 529 W 20th St\, 4th Floor\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/08/paulin.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260618
DTEND;VALUE=DATE:20260725
DTSTAMP:20260714T055154Z
CREATED:20260714T055154Z
LAST-MODIFIED:20260714T055154Z
UID:10000142-1781740800-1784937599@jamesmaherphotography.com
SUMMARY:Ernest Cole: Black America Unseen
DESCRIPTION:Rediscovered Vintage Prints from a South African in Exile \nGoodman Gallery New York is pleased to present a remarkable group of rare vintage prints by the late South African photographer Ernest Cole\, which resurfaced after more than four decades. Together\, these works offer an extraordinary new perspective on Cole’s years documenting Black life in the United States during the late 1960s and early 1970s. The prints\, preserved within the Hasselblad collection for over 40 years\, were recently returned to the Ernest Cole Family Trust. While a number of vintage prints from Cole’s American body of work are held in institutional collections\, including the Museum of Modern Art\, this group offers a new opportunity to encounter works that have remained largely inaccessible for decades. Following the publication of several of these photographs in The True America – the first book dedicated to Cole’s photographs of Black life in the United States – the exhibition reunites a significant body of vintage prints\, many of which have been scarcely exhibited\, offering an exceptionally unusual insight into a pivotal yet underexamined period of his career.Goodman Gallery New York is pleased to present a remarkable group of rare vintage prints by the late South African photographer Ernest Cole\, which resurfaced after more than four decades. Together\, these works offer an extraordinary new perspective on Cole’s years documenting Black life in the United States during the late 1960s and early 1970s. \nThe prints\, preserved within the Hasselblad collection for over 40 years\, were recently returned to the Ernest Cole Family Trust. While a number of vintage prints from Cole’s American body of work are held in institutional collections\, including the Museum of Modern Art\, this group offers a new opportunity to encounter works that have remained largely inaccessible for decades. Following the publication of several of these photographs in The True America – the first book dedicated to Cole’s photographs of Black life in the United States – the exhibition reunites a significant body of vintage prints\, many of which have been scarcely exhibited\, offering an exceptionally unusual insight into a pivotal yet underexamined period of his career. \n\n\n\n\n\n“You try to make peace with exile – its cruel crutches; the exhausting regrets for things left behind – bodies and souls. The experiences\, feelings\, senses\, odors disappear\, with the ever-growing certainty that you will never get back to your roots.” – Raoul Peck\, An Idea of Exile.\n\nhttps://goodman-gallery.com/exhibitions/black-america-unseen-ernest-cole
URL:https://jamesmaherphotography.com/event/ernest-cole-black-america-unseen/
LOCATION:Goodman Gallery\, 23 East 67th Street\, 2nd Floor\,\, New York\, NY\, 10065\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/07/ernestcole.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260707
DTEND;VALUE=DATE:20261004
DTSTAMP:20260906T162211Z
CREATED:20260906T162211Z
LAST-MODIFIED:20260906T162211Z
UID:10000160-1783382400-1791071999@jamesmaherphotography.com
SUMMARY:Dakota Mace: Sǫʼ Baa Hane’ 2023-2025
DESCRIPTION:Higher Pictures presents Sǫʼ Baa Hane’\, the gallery’s first exhibition with Diné artist Dakota Mace. The exhibition brings together nine works made between 2023 and 2025 from two series\, Sǫʼ and Distorted Landscapes. \nMace combines traditional and cameraless photographic methods\, including cyanotype\, chemigram\, and natural dyes such as cochineal and Osage orange\, with hand-applied glass beadwork drawn from motifs in Diné weaving and silversmithing. Working across these process-intensive\, labor-dense materials\, she translates Diné cosmology and oral history into a visual language in which design itself functions as a carrier of narrative. In both series\, land operates not as a pictorial subject but as an archive. Land is a repository of ancestral memory and kinship that\, in Mace’s framing\, resists the proprietary logic of Western land ownership and instead figures place as an extension of the self and a site of intergenerational continuity. \nIn Sǫʼ\, Mace honors the tradition of Diné storytelling\, told by campfire beneath the night sky and passed on only at specific times of year\, especially in winter. Created through cyanotype with cochineal and chemical dyes\, each work is unique but tied together\, a reflection of the Diné philosophy that all things are connected even as each carries its own texture and design. Drawing on designs passed down through weaving\, silversmithing\, and the ancestors who came before\, Mace offers a way for a younger generation to understand what it means to remain connected to their stories. \nhttps://higherpictures.com/exhibitions/dakota-mace-s%C7%AB%CA%BC-baa-hane-story-of-the-stars/
URL:https://jamesmaherphotography.com/event/dakota-mace-s%c7%ab%ca%bc-baa-hane-2023-2025/
LOCATION:Higher Pictures\, 45 Main Street #723\, Brooklyn\, NY\, 11201\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/09/dakota-mace-higher-pictures.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260708
DTEND;VALUE=DATE:20260808
DTSTAMP:20260715T150456Z
CREATED:20260715T150405Z
LAST-MODIFIED:20260715T150456Z
UID:10000143-1783468800-1786147199@jamesmaherphotography.com
SUMMARY:Manifest and Sublime
DESCRIPTION:Yancey Richardson is pleased to announce Manifest and Sublime\, an exhibition that considers the ever-evolving relationship between photography and the American landscape. To explore how photography has represented the landscape in ways that have changed as dramatically as the country itself\, the exhibition brings together works that span the medium’s history\, from mammoth plate albumen prints made by Carleton Watkins in Yosemite National Park to contemporary daguerreotypes made by Binh Danh in the very same place. Whether surveying the immensity of nature or lamenting the scale of change being inflicted upon it\, the images in Manifest and Sublime return time and again to a landscape no less beautiful for the way it has been remade by human intervention. Featuring work by Ansel Adams\, Robert Adams\, Diane Arbus\, Binh Danh\, Mitch Epstein\, Terry Evans\, David Hilliard\, Sky Hopinka\, William Henry Jackson\, Lisa Kereszi\, An-My Lê\, Richard Misrach\, Andrew Moore\, Victoria Sambunaris\, Tseng Kwong Chi\, Carleton Watkins and Charles Leander Weed. The exhibition will be on view from July 8 through August 7\, 2026. An opening reception will be held on Wednesday\, July 8 from 6–8PM. \nWorks by 19th-century photographers William Henry Jackson and Carleton Watkins show how\, from its very inception\, photography was used to ‘discover’ and document vast swaths of the American landscape. In these now-canonical images\, the landscape is pictured as pristine\, limitless\, sublime and\, ultimately\, available for settlement. Where humans are present in these pictures it is often as bystanders to the great drama before them\, one defined by mountain ranges and prairies\, by waterfalls and dense forests. \nThe landscape that was depicted in the work of Jackson and Watkins was shown to be awe-inspiring\, overwhelming and untameable. Working throughout the middle of the 20th-century\, Ansel Adams took a different approach\, one that removed explicit traces of human presence in order to present the landscape as spiritually moving as it was beautifully described. The sharp focus and long tonal range in his photographs were used to create pictures that Adams hoped would persuade the public and their elected officials to protect the landscape from being degraded and destroyed. Where Ansel Adams sought to make photographs that idealized the landscape while obscuring the real effects of human society\, the work of Robert Adams looked both soberly and with sorrow at how urbanization and rampant construction throughout the American west had spoiled its fields\, plains and prairies. Though often mourning what had been lost\, Robert Adams did so by creating scenes that were full of natural splendour and possibility\, all the better to remind us of what we still stand to lose. \n\n\nWhere Ansel Adams glorified the landscape and Robert Adams struck something of a plaintive tone\, the work of more recent photographers reflects how the American landscape has gone from being understood as an untouched Eden to a space of commodification. Richard Misrach’s Outdoor Dining\, Bonneville Salt Flats (1992) and David Hilliard’s Final Destination (2013) each highlight the process of commercializing nature\, while Sky Hopinka’s What am I but half asleep daydreaming those teachings (2023) and Mitch Epstein’s Mount Rushmore National Monument\, Six Grandfathers\, South Dakota (2018) reflect on how our ideas of the American landscape are built upon legacies of violence and forced removal. What is retained in each of these images—regardless of tone or emphasis—is a belief in the landscape as a site of beauty\, connection and even spiritual awakening\, as expressed by An-My Lê’s Pleiades Cluster in Taurus\, Joshua Tree National Park\, California\, from Way Station (2025). In these photographs nature can still enrich our lives and\, in the case of Terry Evans’ Fent’s Prairie\, near Salina\, Kansas\, May 28 & 29 (2018)\, remind us that the landscape\, and our experience with it\, is inseparable from the images we have made and the ways we have constructed meaning out of them. \nhttps://www.yanceyrichardson.com/exhibitions/manifest-and-sublime
URL:https://jamesmaherphotography.com/event/manifest-and-sublime/
LOCATION:Yancey Richardson\, 525 West 22nd Street\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/07/yancey.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260716
DTEND;VALUE=DATE:20260829
DTSTAMP:20260813T222021Z
CREATED:20260813T222021Z
LAST-MODIFIED:20260813T222021Z
UID:10000151-1784160000-1787961599@jamesmaherphotography.com
SUMMARY:On the Road
DESCRIPTION:Inspired by Jack Kerouac’s seminal 1957 novel\, this group photography exhibition conveys stories of everyday life through the unique physical and metaphorical lens of each artist.   \nThe exhibition features Edward Burtynsky’s historic work Breezewood\, Pennsylvania (2008)\, which was showcased in his 2025 solo show The Great Acceleration at the International Center of Photography in New York. Also on view are images by Karen Knorr in collaboration with artist Anna Fox from their series and book U.S. Route 1 (After Berenice Abbott)\, which features 150 photographs taken in small towns from Key West\, Florida\, to Fort Kent\, Maine\, between 2016 and 2025.  \nAlongside are celebrated photographs by gallery artists Steve McCurry and Sebastião Salgado. Los Angeles–based visual artist and actor Toby Huss presents images from across his series of photographs documenting the overlooked visual vernacular of the American landscape and the textures of ordinary life that bind it together. \nhttps://www.sundaramtagore.com/exhibitions/on-the-road
URL:https://jamesmaherphotography.com/event/on-the-road/
LOCATION:Sundaram Tagore Gallery\, 542 W 26th Street\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/08/on-the-road-sundaram-tagore.jpg
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260730
DTEND;VALUE=DATE:20260830
DTSTAMP:20260724T192737Z
CREATED:20260724T192737Z
LAST-MODIFIED:20260724T192737Z
UID:10000144-1785369600-1788047999@jamesmaherphotography.com
SUMMARY:Sixteen Corners:
Gus Powell
DESCRIPTION:July 30 – August 29
Opening Thursday\, July 30\, 6-9\nRectangle Room
at Primary Photographic
113 Eldridge St
NY NY 10002

Gus Powell @dirtywhitebucks (NYC\, 1974) attended Oberlin College where he majored in comparative religion. His work has been exhibited internationally\, including a solo show at The Museum of The City of New York and group exhibitions at The Art Institute of Chicago\, Museum of Fine Arts Houston and FOAM\, NL. His photographs have been published in Aperture\, Harpers\, Vogue\, M le mag – Le Monde\, Wired\, Fortune\, W\, and The New Yorker. He is a member of the international street photographers’ collective UP and is on the faculty of the MFA Photography\, Video and Related Media Department at the School of Visual Arts\, NY. \nRectangle Room @rectangle.room is an exhibition space and book store run by Tim Barber @timobarber focusing on contemporary photography. \nPrimary Photographic @primaryphotographic is a full-service film lab offering processing\, scanning\, retouching\, printing\, and darkroom services. \nhttps://www.instagram.com/p/DbLIvGqRkKG
URL:https://jamesmaherphotography.com/event/sixteen-corners-gus-powell/
LOCATION:Rectangle Room\, 113 Eldridge St\, New York\, NY\, 10002\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/07/powell.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260801
DTEND;VALUE=DATE:20260905
DTSTAMP:20260803T154325Z
CREATED:20260803T154325Z
LAST-MODIFIED:20260803T154325Z
UID:10000146-1785542400-1788566399@jamesmaherphotography.com
SUMMARY:seeing-eye engine (featuring: Parker Conrad and Guy Grabowsky)
DESCRIPTION:Curated by Milly Cai \nFrisson Gallery presents seeing-eye engine\, a two-person exhibition featuring Parker Conrad and Guy Grabowsky\, marking the artists’ first exhibition at the gallery. Though working in ostensibly distinct mediums\, Conrad in painting and Grabowsky in photography\, both artists share a preoccupation with the image as a constructed\, unstable object rather than a transparent window onto the world. \nGrabowsky’s works\, built through a hybrid of analogue and digital processes including darkroom\, Xerox\, and flatbed scanner\, aim to rupture the moment of eye-camera-lens-subject encounter by exposing the mechanics and materiality of the photographic image itself. Conrad arrives at a parallel rupture from the opposite direction\, sourcing imagery from personal photographs\, online archives\, and text-to-image generation; they use composite digital blueprints as a scaffold for paintings that render speculative\, almost-familiar anatomies like bodies caught between the organic and the mechanical\, the unmediated and the synthetic. \nPlaced together\, the two bodies of work suggest that photography and painting\, however divergent their tools\, are converging on the same set of questions: what happens to an image and to the body or subject it purports to depict once it has passed through multiple layers of technological apparatus? In an image-saturated visual culture where the line between captured and generated\, analogue and algorithmic\, continues to blur\, Parker Conrad and Guy Grabowsky each stage a version of the image on the verge of dissolving into its own process. seeing-eye engine invites viewers to consider not just what these images show\, but what they reveal about how images are produced and reproduced today.
URL:https://jamesmaherphotography.com/event/seeing-eye-engine-featuring-parker-conrad-and-guy-grabowsky/
LOCATION:Frisson Gallery\, 141 Attorney Street\, New York\, NY\, 10003\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/08/guy-grabowsky.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260910
DTEND;VALUE=DATE:20261004
DTSTAMP:20260918T164215Z
CREATED:20260918T164215Z
LAST-MODIFIED:20260918T164215Z
UID:10000167-1788998400-1791071999@jamesmaherphotography.com
SUMMARY:Jerry Hsu: How About Never
DESCRIPTION:This will be Jerry’s first solo exhibition in NYC and will feature 20 large scale limited edition prints of selected images from the book. For inquiries please email : rectangleemail@gmail.com \n“How About Never” was recently featured in The New Yorker in a piece by Hua Hsu. \nJerry Hsu is a Taiwanese-American artist and the owner/operator of the Sci-Fi Fantasy Corporation. \n“Bringing together photographs Jerry Hsu has made in Los Angeles since 2011\, How About Never is occupied with the almost sentient character of the city. Hsu’s photographs are sensitively attuned to the contradictions of the place\, entangling allusions to hope and despair\, beauty and pain in an atmospheric and uncanny sequence. Images of disfigured fences and physical injuries are interwoven with spontaneous compositions: a discarded toilet\, a blood-stained mattress\, crashed cars\, a bank ominously aflame. Portraits seek an intimacy with their subjects among the disrepair and cruelty of the urban environment. These disparate and dissonant strands reach a beguiling harmony\, together looking to destruction as a potential source of change and rebirth.” – from the publisher MACK \nExhibition & Book Launch. Opening Reception & Signing: Thursday September 10\, 6 – 9. \nhttps://www.rectangleroom.com/pages/nyc-space
URL:https://jamesmaherphotography.com/event/jerry-hsu-how-about-never/
LOCATION:Rectangle Room\, 113 Eldridge St\, New York\, NY\, 10002\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/09/jerry-hsu-how-about-never-rectangle-room.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260918
DTEND;VALUE=DATE:20260921
DTSTAMP:20260910T001732Z
CREATED:20260910T001732Z
LAST-MODIFIED:20260910T001732Z
UID:10000166-1789689600-1789948799@jamesmaherphotography.com
SUMMARY:What Holds Us
DESCRIPTION:Alex Prager\, Jack Davison\, Jimmy Chin \nPhotography exhibition featuring original work by three acclaimed artists\, all shot on iPhone 18 Pro. Curated by Kathy Ryan. \nAdmission is free. Capacity is limited\, sign-up on the event page. Public hours: September 18\, 10 a.m.–8 p.m.; September 19\, 10 a.m.–6 p.m.; September 20\, 10 a.m.–6 p.m. \nhttps://events.apple.com/ms/bnGjzDiDJ210QV1Ke0qattq8m-TSK5y3Wd-m_c8On8exkKh-YoIpxiozRtTbPGMBgY6uoilUor22SX4wucZ41dRmubEHIpHQNlroAj7Be3X2YglnraS5xI7qq-EOC_5T7QM5OONkUSxCBI8xxA/registration
URL:https://jamesmaherphotography.com/event/what-holds-us/
LOCATION:Petzel Gallery\, 456 West 18th Street\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/09/what-holds-us-apple.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260924
DTEND;VALUE=DATE:20260928
DTSTAMP:20260906T155929Z
CREATED:20260906T155929Z
LAST-MODIFIED:20260906T155929Z
UID:10000157-1790208000-1790553599@jamesmaherphotography.com
SUMMARY:The Armory Show 2026
DESCRIPTION:A cornerstone of New York’s cultural landscape since 1994\, The Armory Show opens New York’s fall art season by bringing the world’s leading international contemporary and modern art galleries to the Javits Center each year. The fair emphasizes thoughtful programming\, elevated presentations\, curatorial excellence\, meaningful institutional partnerships\, and engaging public art activations. \nhttps://www.thearmoryshow.com/
URL:https://jamesmaherphotography.com/event/the-armory-show-2026/
LOCATION:Jacob K. Javits Convention Center\, 429 11th Avenue\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/09/the-armory-show-2026.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260924
DTEND;VALUE=DATE:20260928
DTSTAMP:20260310T001739Z
CREATED:20260310T001739Z
LAST-MODIFIED:20260310T001739Z
UID:10000121-1790208000-1790553599@jamesmaherphotography.com
SUMMARY:Printed Matter NY Art Book Fair
DESCRIPTION:The 2026 NY Art Book Fair\nSeptember 24–27\, 2026\nat MoMA PS1
URL:https://jamesmaherphotography.com/event/printed-matter-ny-art-book-fair/
LOCATION:MoMA PS1\, 22-25 Jackson Ave\, Queens\, NY\, 11101\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/03/NYABF26_4_5_1080x1350_final.jpg
END:VEVENT
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