JTF (just the facts): A total of 75 photographic and other works, variously framed and matted, and hung against white walls in the main gallery space and the entry area. (Installation shots below.) The following works have been included in the show: 51 gelatin silver prints, 1971, 1972, 1973, c1973, 1974, 1976, sized roughly 4×2, 3×4 (or the reverse), 3×5 (or the reverse), 5×4, 4×6 (or the reverse), 4×7, 5×5, 6×6, 6×7, 7×5, 7×7, 8×5, 8×10, 9×6 (or the reverse), 9×7, 9×8 inches 1 set of 6 gelatin silver prints, 1973, each sized roughly 5×4 inches 10 photocopies, c1976, 1979, ... Read more at Collector Daily.

For committed photography collectors like ourselves, the run of spring contemporary art fairs here in New York can often feel a little like a frustrating missed opportunity. We enthusiastically look forward to the fairs, and then proceed to systematically work our way through the aisles, eager to visit with gallery owners (and other collectors and curators) from far off locales and to get caught up with the photography they are supporting. And yet, more often than not, the reality is that when we do arrive to see what they’ve brought, they’ve largely left the photography home, in favor of big ... Read more at Collector Daily.

Absent a pandemic virus making the entire world fearful of the next nearby cough, having galleries, collectors, and curators from all over the world congregate in one crowded place to look at contemporary art perhaps seems like a brilliant idea. But with a very different hygienic context and a tumbling stock market as a backdrop, my pre-fair expectations for the collective mood of this year’s Armory Show were low, to say the least. And yet, while the crowds seemed somewhat thinner and more muted during my swing through the aisles, and there wasn’t much (if any) hand shaking, the business ... Read more at Collector Daily.