New York City Photography

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Exhibition Map

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Show Notes:

El Museo del Barrio is proud to present Sophie Rivera: Double Exposures, the first museum survey dedicated to the groundbreaking photographer Sophie Rivera (1938–2021). Opening April 23, 2026, the exhibition offers a long-overdue reevaluation of Rivera’s contributions to photography and Nuyorican visual culture, while celebrating her deep, historic connection to El Museo—where she organized exhibitions and held her first solo show in the 1980s.
The exhibition title, Double Exposures, references both the photographic technique of layering multiple images and Rivera’s exploration of multiplicity and identity. Her work reflects the complexity of her intersectional positionality as a woman, feminist artist of Puerto Rican descent in New York during the 1970s–1990s, contesting and expanding traditional histories of portraiture and representation.
Featuring portraits, documentary images, experimental self-portraits, and photographs of New York’s subway and graffiti scenes of the late 1970s, Double Exposures brings together vintage prints and never-before-seen materials from Rivera’s archive.
An accompanying publication co-published by El Museo del Barrio and Aperture will mark the occasion, serving as the first comprehensive monograph on the artist. The book includes more than 125 images, selections from Rivera’s writings, and newly commissioned essays.
As Latine cultural production continues to shape the American experience, Sophie Rivera: Double Exposures marks an institutional milestone for El Museo del Barrio—revisiting essential moments in Nuyorican history and celebrating an artist whose vision powerfully underscores the central place of Puerto Rican and Latine voices in the story of American art.
ABOUT THE ARTIST
Sophie Rivera (1938–2021) was a pioneering photographer whose work emerged in the 1970s amid a generation of artists challenging the misrepresentation of Latines in American media, art, and culture. As one of the few women photographers associated with En Foco, the Bronx-based photography collective established in the context of the Nuyorican Movement, Rivera played a critical role in advancing the collective’s mission of self-representation. Her celebrated Latino Portrait series celebrates everyday Puerto Ricans and were later exhibited at large scale in the New York City subway system—bringing, in Rivera’s words, “portraits of people like themselves” to the public.
Deeply engaged with her community and committed to the politics of visibility, Rivera’s practice blended formal experimentation with social consciousness. Her work continues to resonate as a powerful reflection of identity, resilience, and belonging in the urban landscape.
SPONSORS
We extend special recognition to the Luce Foundation, the Mellon Foundation, and the Ford Foundation for their generous support and for making this retrospective exhibition possible. We thank the New York City Department of Cultural Affairs, the New York State Council on the Arts, and other public agencies for their steadfast commitment to our museum. We are also deeply grateful to Aperture for their partnership on this project.

https://elmuseo.org/exhibition/sophie-rivera-double-exposures/

Show Notes:

Howard Greenberg Gallery will present Notes from the Margins: Allen Ginsberg and Vivian Maier, a new exhibition marking the centennial of two singular artists born in 1926, whose work emerged from the cultural periphery and came to leave a lasting mark on the visual and literary imagination of the 20th century. On view from June 4 through September 12, 2026, Notes from the Margins offers a timely reconsideration of two distinct yet unexpectedly resonant artistic legacies. Bringing together Ginsberg’s poetic and photographic sensibility with Maier’s extraordinary street photography, the exhibition explores how each transformed everyday experience into a powerful record of memory, observation, and human presence.

The legacies of Allen Ginsberg and Vivian Maier endure. For Ginsberg, poetry and photography became a vehicle for radical openness – documenting queer identity, political unrest, spiritual searching, and the emotional intensity of postwar America. Maier, who spent much of her life working as a nanny while privately producing an immense body of photographs, only discovered by chance after her death, transformed ordinary city life into an imperishable and deeply human visual archive. Neither artist fit comfortably within institutional frameworks during much of their lives, yet both produced work that continues to challenge ideas of visibility, authorship and belonging.

Ginsberg (1926 - 1997) is primarily known as a great American poet, the figurehead of the Beat Movement (the post-World War ll American literary and social movement centered in New York and San Franciso). But from the early 1950s to about 1964, he regularly used an inexpensive camera to take snapshots of his now famous friends, including the writers Jack Kerouac, William Burroughs, Gregory Corso, and Neal Cassady. Almost all are affectionate, straightforward portraits. Many have a subtly playful spirit, and some carry Ginsberg’s annotations handwritten on prints. Soon after making these pictures, Ginsberg lost the camera he’d been using, and it would be another 20 years before he would return to photography.

Maier (1926 - 2009) was an American street photographer whose massive, unseen body of work came to light when it was purchased from an auction in Chicago in 2007. Maier worked in Chicago for most of her life. In her leisure time, she ventured into the art of photography. Consistently taking photographs over the course of five decades, she would ultimately leave behind over 100,000 negatives. While her photographs have compelled viewers around the world since being brought to the public eye, there is much that remains unknown about the enigmatic woman behind the lens.

Notes from the Margins features approximately 80 modern and vintage prints, along with Maier’s experimental film footage and a film of Ginsberg reciting his poem “Howl.” Self-portraits and the urban landscape are a recurring thread through the exhibition. Together, Ginsberg’s and Maier’s work reveals two singular modes of looking: one public and outspoken, the other private and elusive.

Each artist used the camera—and, in Ginsberg’s case, language as well—to record fleeting moments, overlooked people, and the textures of modern city life. By placing these works in conversation, the exhibition highlights themes of observation, self-fashioning, solitude, marginality, and the enduring power of artists who worked beyond conventional expectations of fame, audience, and recognition. It considers the margin not simply as a place of absence, but as a generative space – one where alternative histories, identities and visual languages take shape. In many ways, the margin functions as a site of invention.

Notes from the Margins: Allen Ginsberg and Vivian Maier is part of an extensive series of events happening throughout the year marking the Ginsberg centennial.

https://www.howardgreenberg.com/exhibitions/198-allen-ginsberg-and-vivian-maier-notes-from-the-margins/

Show Notes:

ICP’s Incubator is located on ICP’s ground floor. The space is free and open to the public during café and museum hours.

Photographer and ICP alum Andrea Hernández Briceño has been documenting the indigenous Huöttöja people in the Amazon basin since 2024. Many members of the Huöttöja community feel the pull of the mining industry, which promises to make them rich but threatens to dilute their culture. Hernández Briceño was invited to document their traditions and ancestral knowledge as a way to preserve them, but also set herself the goal to avoid being another outsider that left them feeling exploited. She aims to create a body of work that reflects the Huöttöja worldview and spirituality by nurturing a long term relationship with the community and its main goal: to show us that humans are not separate from nature, but an extension of it.

About The Artist

Andrea Hernández Briceño is a Venezuelan journalist, visual storyteller, Magnum Foundation fellow, TEDx speaker and National Geographic explorer based in Caracas. She tells representative stories about gender, environment and social phenomena that put the dignity of participants in the center of the narrative while using different formats and a perceptive approach to magic. She was awarded the Women Photograph grant in 2024, three POY Latams (2023 and 2025) and has been shortlisted for the Marilyn Stafford Award twice.

Hernández Briceño co-founded the all women collectives Ayün Fotógrafas and Solunar. She teaches the Ojo Pelao and MiraVzla free workshops, making photography education more accessible in her country. She believes in the importance of creating alliances with communities through horizontal practices that combine education, community building and storytelling initiatives. Her work explores narratives that search for humanity in the space between seemingly opposing ideas as a result of growing up, documenting and resisting in Venezuela, a place of deep contradictions.

As part of a team effort she published a book called Mango Season that looks into food insecurity and the resolve to live a dignified life in Venezuela with Raya Editorial and El Archivo. Hernández Briceño collaborates with The Washington Post, The Guardian, El País and other international outlets. Her work has been exhibited in New York, Paris, Mexico City and Venezuela.

About the ICP Incubator Space

ICP’s Incubator Space is a new exhibition program designed to highlight the work of emerging photographers who are responding in real time to the world around us. ICP will present a rotating selection of projects by imagemakers experimenting with and pushing boundaries around the documentary tradition. ICP’s Incubator Space is curated by Sara Ickow, Associate Director of Exhibitions at ICP.

Header image: A light shines upon the tip of the Huöttöja communal home “churuata” in the Amazonas state, Venezuela, on April 21, 2025. In the indigenous Huöttöja people’s worldview, this branch functions as an antenna connecting the earth with the spiritual realm. The “churuata” is the place where shaman Jattupa tells the stories that conform the Huöttöja way of life, viewing humans not as separate from nature but as an extension of it.

https://www.icp.org/exhibitions/icp-incubator-space-andrea-hernandez-brice%C3%B1o-fire-becomes-spirit

Show Notes:

Yves Saint Laurent and Photography explores the powerful relationship Yves Saint Laurent forged between fashion and photography over four decades, revealing how photography functioned not only as a tool for promotion but also as a creative force that helped define a legacy. Organized in collaboration with the Musée Yves Saint Laurent Paris and the Fondation Pierre Bergé–Yves Saint Laurent, it brings together nearly 300 iconic photographs and archival objects.

Featuring work by celebrated artists such as Richard Avedon, Cecil Beaton, Guy Bourdin, Robert Doisneau, Horst P. Horst, William Klein, Annie Leibovitz, Steven Meisel, Duane Michals, Helmut Newton, Irving Penn, David Seidner, Andy Warhol, and others, the exhibition pairs these photographs with contact sheets, campaign materials, magazines, and personal images. Together, they reveal how Yves Saint Laurent established a blueprint for the way the fashion world is visualized and understood today.

Curated by Simon Baker, Guest Curator and photography historian; Nastasia Alberti, Deputy Head of Collections and Head Archivist; and Clémentine Cuinet, Head of Photographic Collections, both of the Musée Yves Saint Laurent Paris.
About Yves Saint Laurent
Yves Mathieu-Saint-Laurent (b. 1936, Oran, Algeria) began his career in Paris in 1955 as an assistant to renowned couturier Christian Dior. Following Dior’s sudden death in 1957, Yves Saint Laurent was appointed artistic director of the Musée Yves Saint Laurent Paris and his designs quickly gained critical acclaim. Dismissed from Dior in 1960 after military service and a subsequent hospitalization for depression, he founded his own couture house in partnership with Pierre Bergé, whom he had met in 1958. The first collection was presented in 1962 and the house became known for reinterpreting traditionally masculine garments like pantsuits and trench coats into bold, feminine looks that redefined the wardrobe of the modern woman.
In 1966, he launched SAINT LAURENT rive gauche, a ready-to-wear line with stores opened internationally. Influenced by different cultures, Yves Saint Laurent’s designs paid tribute to artists including Mondrian, Picasso and Van Gogh and drew inspiration from faraway places––most notably Marrakech. This prolific output spanned thirty years and was the subject of numerous awards and exhibitions across the globe. Yves Saint Laurent retired and closed the couture house in 2002, at which point the newly-formed Fondation Pierre Bergé–Yves Saint Laurent assumed responsibility for advancing and safeguarding his work. Yves Saint Laurent died at his Paris home on June 1, 2008, at the age of seventy-one.
In 2017, the Fondation Pierre Bergé–Yves Saint Laurent was re-envisioned with the opening of two museums in Paris and Marrakech. These institutions preserve and celebrate one of the twentieth century’s most defining creative legacies.
About Musée Yves Saint Laurent Paris
The Musée Yves Saint Laurent Paris, chaired by Madison Cox, is the first museum dedicated to one of the greatest couturiers of the twentieth century to open in the capital of fashion. It opened its doors on October 3, 2017, fifteen years after the closing of the haute couture house and obtained the designation ‘Musée de France.’ It occupies the historic hôtel particulier at 5 Avenue Marceau where for nearly thirty years, from 1974 to 2002, Yves Saint Laurent’s creative genius held sway. The museum's vast collection includes 12,000 garments, including 8,300 haute couture pieces more than 100,000 graphic artworks, including 55,000 fashion sketches by the couturier and 194,000 photographs comprising of diapositives, negatives and vintage and modern prints, as well as an archive of more than 4,000 magazines and 60,000 documents, including correspondence, audiovisual materials and personal objects, completing the collection. This ensemble is the result of the pioneering and systematic archival work initiated by Yves Saint Laurent and Pierre Bergé. The Musée Yves Saint Laurent Paris is temporarily closed for renovations. It is scheduled to reopen in the fall of 2027.
Header image: Ensemble worn by Edia Vairelli, Haute Couture Spring/Summer 1982 collection, 5 Avenue Marceau, Paris, January 1982. Polaroid by fashion house staff © All rights reserved © Yves Saint Laurent; Tailored suit worn by Anna Karin, Haute Couture Autumn/Winter 1991 collection, 5 Avenue Marceau, Paris, July 1991. Polaroid by fashion house staff © All rights reserved © Yves Saint Laurent

https://www.icp.org/exhibitions/yves-saint-laurent-and-photography

Upcoming Shows

Show Notes:

It is with tremendous joy that I write to share good news: On September 18, 2026, Aperture will open the doors to a permanent home at 380 Columbus Avenue in New York City.

Along with my brilliant colleagues and our dedicated board of trustees, we cannot wait to welcome you to this space for “serious photographers and creative people everywhere,” as our founders envisioned. Situated on the first two floors of a historic building in a bustling neighborhood on the Upper West Side in Manhattan, Aperture will be a place to gather, share ideas, and engage with photography. From a dynamic program in our gallery and bookstore to a lively calendar of talks and events, we invite neighbors and visitors alike to kindle a curiosity informed by photography. And we’ll even have a photo booth to commemorate your visit!

Aperture Loves New York is our inaugural installation (curated by yours truly), and it will highlight iconic NYC photos alongside beloved Aperture books: from landmark titles by Diane Arbus, Robert Frank, Nan Goldin, and Stephen Shore to more recent favorites featuring Justine Kurland, Deana Lawson, Tyler Mitchell, and Coreen Simpson. If you can’t wait to hear more about it, we will soon post our recent Aperture PhotoBook Club gathering online, where an esteemed group of colleagues discuss their most cherished selections from the checklist!

Aperture was conceived in 1952 as a quarterly magazine: a unique forum that has incubated ideas and encouraged urgent conversations for more than seven decades. Our new home builds upon our storied publishing legacy, anchored—then and now—by the conviction that “creative thinking, significantly expressed in words and photographs,” offers vital new perspectives about our world and one another. (The title of my quarterly newsletter is a nod to this quote from an early editorial note.) In our magazine, books, public programs, educational initiatives, and exhibitions, we have nurtured young talent, created frameworks for overlooked achievements, and offered tools to develop visual literacy, embracing the complexity and plurality at the heart of the medium.

I joined Aperture five years ago, when the need—and the potential—for a permanent home was clear, but just where this would be and how we would get there were less certain. When you stop by in September, I’d love to share all I have learned about injection grouting (essentially Botox for old buildings), the Department of Vertical Transportation (and our LULA lift), and acoustics (just wait until you stand beneath our “StarSilent” ceilings).

Everything you will encounter in the new space has been made possible thanks to the vision of our talented architects—LEVENBETTS—in partnership with Sciame, our construction managers, and the Local Initiative Support Corporation (LISC) who have extended valuable financing. We could not be an independent, nonprofit publisher nor own this home were it not for the extraordinary generosity of our board of trustees, a community of individuals and foundations, and critical support from New York City and New York State. The most significant of these gifts are listed here, and you can still make a difference with a donation of any amount.

We envision Aperture’s new home as a place where the power and democratic spirit of photography will inspire a more curious, creative, and equitable world. Whether by contributing to our capital campaign or joining as a member (with special access to our opening events!), we would deeply appreciate your help at this critical moment. No matter what, we hope you will visit us at 380 Columbus Avenue come September.

-Sarah Meister, Aperture Executive Director

https://aperture.org/editorial/aperture-welcomes-the-public-to-its-new-home-this-september/

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Session Press / Photography Channel

NYC and Tokyo

Launched in March 2025, in collaboration with Session Press and Dashwood Books. Run by Miwa Susuda with photographers Anh Nguyen, James Maher, and John Sypal, this new initiative will feature artist interviews, peer discussions, and exhibition reviews, offering fresh perspectives on photobooks and photography exhibitions in NYC and Tokyo.

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