{"id":613421,"date":"2026-09-12T02:26:19","date_gmt":"2026-09-12T02:26:19","guid":{"rendered":"https:\/\/www.newsbeep.com\/il\/613421\/"},"modified":"2026-09-12T02:26:19","modified_gmt":"2026-09-12T02:26:19","slug":"14-photography-exhibitions-to-see-this-fall-2026","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/il\/613421\/","title":{"rendered":"14 Photography Exhibitions to See This Fall \u2014 2026"},"content":{"rendered":"

\"\"Hailun Ma, Hometown, 2018
Courtesy the artist<\/p>\n

Hailun Ma \u2014 Amsterdam<\/p>\n

It was only after moving to New York to study fashion photography that Hailun Ma began to recognize the artistic potential of her native Xinjiang\u2014China\u2019s westernmost region, home to twenty-five million people and more than forty ethnic groups, many of them Muslim majority. \u201cIf you search for images of Xinjiang online, you get these very National Geographic images,\u201d she once told Vogue. \u201cI wanted to present a younger perspective of what is happening.\u201d Her first major solo show outside of China gathers photographs that delight in the everyday traditions and style of Uyghur teenagers, Kazakh cowboys, and other communities sidelined in mainstream depictions of the country.<\/p>\n

Hailun Ma<\/a> at Foam, Amsterdam, September 18, 2026\u2013January 20, 2027<\/p>\n

\"\"Marianne Wex, panels from Let\u2019s Take Back Our Space: \u201cFemale\u201d and \u201cMale\u201d Body Language as a Result of Patriarchal Structures, 1977
\u00a9 2026 Marianne Wex Estate and courtesy The Museum of Modern Art, New York, Committee on Photography Fund, and The Modern Women\u2019s Fund<\/p>\n

Taking Back Our Space \u2014\u00a0New York<\/p>\n

From 1972 to 1977, Marianne Wex collected thousands of images tracing the connection between gesture and gender. The result, Let\u2019s Take Back Our Space, juxtaposes Wex\u2019s own snapshots of body language from the streets of Hamburg with sources reaching back to antiquity\u2014showing, say, how the pose of a manspreader on a park bench descends from the uninhibited contrapposto of Doryphoros. In this exhibition, Wex\u2019s opus, arrayed across systematized panels \u00e0 la Aby Warburg, is paired with work by contemporary artists such as Nona Faustine, K8 Hardy, and Wendy Red Star, who extend observation of everyday public space into defiant acts of reclamation.<\/p>\n

Taking Back Our Space: Photographic Perspectives<\/a> at the Museum of Modern Art, New York, September 20, 2026\u2013May 2, 2027<\/p>\n

\"\"Taryn Simon, There\u2019s no start or finish (detail), 2026
Courtesy the artist<\/p>\n

Taryn Simon \u2014 New York<\/p>\n

For over two decades, Taryn Simon has mined the hidden systems of power and influence that covertly order our lives. Father Country I Do Love You will be the largest debut of a new work ever at the Guggenheim, and the first single-artist exhibition by a photographer in the rotunda. Across forty-two works of photographs, text, video, and sculpture, Simon traces the life of a real, unnamed federal agent, examining how his individual decisions reverberated across lives and nations in ways he never knew. It\u2019s Simon\u2019s most personal project yet, as the work lives in the shadow her own father, who traveled the globe for the US government before transitioning into a career selling arcade games. \u201cAmerica is the best story on earth,\u201d he once told her, \u201cif you could find someone to tell it.\u201d<\/p>\n

Taryn Simon: Father Country I Do Love You<\/a> at the Solomon R. Guggenheim Museum, New York, September 18, 2026\u2013March 14, 2027<\/p>\n

\"\"Roy DeCarava, Couple dancing, 1956
\u200b\u200b\u00a9 The Estate of Roy DeCarava<\/p>\n

Roy DeCarava \u2014\u00a0Los Angeles<\/p>\n

Listening, for Roy DeCarava, was far from a passive act. For his series the sound i saw, he tuned his camera to the rhythms of midcentury New York\u2019s jazz world, immortalizing titans\u2014Trane, Count, Duke, Lady\u2014in his signature palette of charcoal and smoke. He also captured peripheral scenes: tender embraces, dancehall silhouettes, quiet moments of downtime. The result is a deeply personal exploration of how American life, as Ralph Ellison once wrote, \u201ccomes to focus\u201d through jazz. Curated by Ebony L. Haynes, this exhibition brings together 130 photographs from the series, accompanied by a listening room inspired by the records DeCarava cherished most.<\/p>\n

Roy DeCarava: the sound i saw<\/a> at David Zwirner, Los Angeles, September 19\u2013October 31, 2026<\/p>\n

\"\"Juergen Teller, Young Pink Kate London 1998
\u00a9 the artist<\/p>\n

The 90s: Art and Fashion \u2014 London<\/p>\n

Hoist the Union Jack: The 90s: Art and Fashion looks back at a decade when Britain\u2019s irreverent cultural renaissance ruled the runways, airwaves, museums, and magazines. Curated by Edward Enninful, The 90s will bring together fashion by Vivienne Westwood, John Galliano, and Alexander McQueen; works by the (formerly) Young British Artists; and, of course, photographs by the likes of Corinne Day, David Sims, and Juergen Teller, who chronicled a new era of Swinging London in the pages of i-D and The Face.<\/p>\n

The 90s: Art and Fashion<\/a> at Tate Britain, London, October 8, 2026\u2013February 14, 2027<\/p>\n

\"\"Deana Lawson, Edge Control_edvc, 2023\u2013
\u00a9 the artist<\/p>\n

Deana Lawson \u2014\u00a0New York<\/p>\n

Diane Arbus has always been a north star for Deana Lawson, the artist renowned for her regal photographs of Black people she meets in various scenarios, often pictured in domestic settings and bestowed with a transcendent, otherworldly, yet sometimes strangely specific presence. Like Arbus, Lawson can astonish and unnerve. For her first solo exhibition with Gagosian since signing with the gallery in 2022, Lawson presents recent portraits that gesture to vernacular photography and Old Master painting, together with a new series called Edge Control, about the phenomenon of surveillance in beauty supply shops, where shoplifters are tracked on cameras and their likenesses posted to store windows to deter theft. Beauty\u2014and scrutiny\u2014is in the eye of the beholder.<\/p>\n

Deana Lawson<\/a> at Gagosian, New York, September 10\u2013October 24, 2026<\/p>\n

\"\"Trevor Paglen, KEYHOLE 12-3 (IMPROVED CRYSTAL) Optical Reconnaissance Satellite Near Scorpio (USA 129), 2007
Courtesy the artist and Fellowship, Jessica Silverman Gallery, San Francisco, and Pace Gallery, New York<\/p>\n

FotoFocus\u00a0\u2014 Cincinnati<\/p>\n

FotoFocus returns with its eighth edition, The Long View, offering seventy-four exhibitions in sixty-five venues throughout Greater Cincinnati, Dayton, Columbus, and Northern Kentucky. The \u201clong view\u201d of the title refers, in part, to the quarter-millennium of the United States, inviting artists and viewers to contend with the nation\u2019s past, present, and possible futures. Standouts include exhibitions by Paul Mpagi Sepuya, Nancy Rexroth, and Trevor Paglen, whose work\u2014spanning facial recognition technologies, alternate-reality games, and AI rabbit holes\u2014probes the dark infrastructures of surveillance and power that govern how we see the world, and how it sees us.<\/p>\n

FotoFocus Biennial 2026: The Long View<\/a>, Cincinnati, Ohio, October 1\u201331, 2026<\/p>\n

\"\"Sanl\u00e9 Sory, Le Coup de Fil Sportif (The athletic phone call), 1998
\u00a9 the artist and Tezeta and courtesy David Hill Gallery<\/p>\n

Sanl\u00e9 Sory \u2014\u00a0London<\/p>\n

Sanl\u00e9 Sory cut his teeth photographing car crashes for newspapers. When he acquired his own equipment, in 1960, he opened the Volta Photo studio and turned to a more celebratory subject: the vibrant youth culture of newly independent Upper Volta (now Burkina Faso). Like his better-known peers Malick Sidib\u00e9 and Seydou Ke\u00efta, Sory redefined the photography of West Africa by portraying its people on their own terms. This show focuses on his rarely exhibited color portraits\u2014images of irrepressible panache made during the restive 1980s and \u201990s, when his country sought a new identity focused on anti-imperialism and self-reliance.<\/p>\n

Sanl\u00e9 Sory: Colour Years<\/a> at the Photographers\u2019 Gallery, London, October 14, 2026\u2013February 21, 2027<\/p>\n

\"\"Jack Gould, Untitled (Teenagers at soda fountain), c. 1950
\u00a9 President and Fellows of Harvard College and courtesy Harvard Art Museums<\/p>\n

Barbara Norfleet \u2014\u00a0Cambridge, MA<\/p>\n

In the 1970s, the sociologist and curator Barbara P. Norfleet began assembling a vast archive of images from the 1930s to 1960s taken by photographers working on commission across the United States. Consisting of over twenty-thousand photographs depicting social rituals from weddings to corporate gatherings, the archive formed what Norfleet called a \u201cunique and valuable record of American life.\u201d This fall, the Harvard Art Museum stages the exhibition The Way We Never Were, drawn from Norfleet\u2019s archive. Thematic sections ranging from the rise of suburbia and cultural conformity to growing struggles for equal rights centers the role of the professional photographer and commissioned image in shaping how midcentury America came to define itself.<\/p>\n

The Way We Never Were: The American Professional Photographers Collection<\/a> at Harvard Art Museum, Cambridge, Massachusetts, through May 9, 2027.<\/p>\n

\"\"Paula Gillen, Hostage Situation, 1979
\u00a9 the artist<\/p>\n

Flashback \u2014 Baltimore<\/p>\n

In Paula Gillen\u2019s Hostage Situation (1979), a young, masked child yanks a woman\u2019s leg\u2014clad in fishnets and yellow peep-toe heels\u2014protruding through an unfinished ceiling. It\u2019s one of countless gems in Flashback, an unprecedented survey of Baltimore photography spanning almost two hundred years, from daguerreotypes of Frederick Douglass, to A. Aubrey Bodine\u2019s deadline-driven pictorialism, to the zany world of John Waters (that dangling leg belongs to Susan Lowe, a regular in Waters\u2019s films), to younger talents such as Devin Allen and Gioncarlo Valentine who are shaping the city\u2019s photographic landscape today.<\/p>\n

Flashback: Two Centuries of Baltimore Photography<\/a> at the Baltimore Museum of Art, October 4, 2026\u2013February 7, 2027<\/p>\n

\"\"Baldwin Lee, Federal Reserve and New York Stock Exchange, 1977
\u00a9 the artist and courtesy Howard Greenberg Gallery and Hunters Point Press<\/p>\n

Baldwin Lee \u2014\u00a0New York<\/p>\n

Raised in New York\u2019s Chinatown, Baldwin Lee studied with Walker Evans at Yale in the early 1970s. He would return to New York in the following years to photograph the city\u2019s empty, early-morning streets with a 4-by-5 camera. These images, which resonate with German photographer Thomas Struth\u2019s similarly unpeopled streetscapes from the same era, were printed in 2025 for this exhibition at Howard Greenberg Gallery, which previously presented Lee\u2019s now-celebrated large-format portraits made in the 1980s on road trips through the American South. Lee\u2019s portrayal of New York shows how both the skyline and the sidewalk have changed, as in his image of seemingly abandoned Financial Center lofts beneath the Twin Towers of the World Trade Center\u2014a monument to a bygone era.<\/p>\n

Baldwin Lee: New York<\/a> at Howard Greenberg Gallery, New York, September 18\u2013October 31, 2026<\/p>\n

\"\"Arthur Jafa, Pledge of Allegiance, 1899, 2017
Courtesy the artist and Gladstone<\/p>\n

Arthur Jafa \u2014 New York<\/p>\n

Named for the pioneering jazz drummer Tony Williams, Arthur Jafa\u2019s exhibition I Am Tony presents video installations, paintings, photographs, and sculptures across two floors of the recently expanded New Museum. Renowned for his trenchant explorations of race and American culture, the artist will premiere new works alongside searing video montages including Love Is the Message, The Message Is Death (2016) and The White Album (2019), as well as early works such as the photograph Monster (1988), an unflinching self-portrait of the artist as a young man.<\/p>\n

Arthur Jafa: I Am Tony<\/a> at the New Museum, New York, September 24, 2026\u2013January 3, 2027<\/p>\n

\"\"Rinko Kawauchi, Untitled, 2004, from the series the eyes the ears
Courtesy the artist<\/p>\n

Japanese Women Photographers \u2014 New York<\/p>\n

A much-needed counterpoint to the male-centric canon of Japanese photography, I\u2019m So Happy You Are Here: Japanese Women Photographers from the 1950s to Now reframes the history of the medium through the work of twenty-eight intergenerational artists. Presented in partnership with Aperture in conjunction with the 2024 monograph<\/a>, this exhibition is curated by the book\u2019s editors, Pauline Vermare, Lesley A. Martin, and Takeuchi Mariko. I\u2019m So Happy spans the medium from installations to photobooks, providing an indispensable introduction to the contributions of Japanese women to photography by showcasing intimate observations of everyday life, critical perspectives on history, and radical experiments with form.<\/p>\n

I\u2019m So Happy You Are Here: Japanese Women Photographers from the 1950s to Now<\/a> at International Center of Photography, New York, October 15, 2026\u2013January 11, 2027.<\/p>\n

\"\"Stephen Shore, Crosby Street and Grand Street, New York, New York, February 24, 1974, from Uncommon Places (Aperture, 1982)
\u00a9 the artist and courtesy 303 Gallery, New York<\/p>\n

Aperture Loves New York \u2014\u00a0New York<\/p>\n

Aperture Loves New York pays tribute to photographers who have shaped\u2014and been shaped by\u2014the city. Showcasing artists long championed by Aperture and anchored in our publishing history, the presentation brings together important and memorable photographs with corresponding Aperture books that have advanced the medium of photography and captured the complex spirit of New York City. Organized by Aperture\u2019s executive director, Sarah Meister, the installation features photographs by more than twenty artists ranging from past to present\u2014including Diane Arbus, Deana Lawson, Stephen Shore, Awol Erizku, and more.<\/p>\n

Aperture Loves New York<\/a> at Aperture, New York, September 18\u2013November 1, 2026.<\/p>\n","protected":false},"excerpt":{"rendered":"Hailun Ma, Hometown, 2018Courtesy the artist Hailun Ma \u2014 Amsterdam It was only after moving to New York…\n","protected":false},"author":2,"featured_media":613422,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[31],"tags":[437,434,435,436,277674,277673,438,146,85,46,277672],"class_list":["post-613421","post","type-post","status-publish","format-standard","has-post-thumbnail","category-arts-and-design","tag-arts","tag-arts-and-design","tag-artsanddesign","tag-artsdesign","tag-baldwin-lee","tag-deana-lawson","tag-design","tag-entertainment","tag-il","tag-israel","tag-trevor-paglen"],"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/posts\/613421","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/comments?post=613421"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/posts\/613421\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/media\/613422"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/media?parent=613421"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/categories?post=613421"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/tags?post=613421"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}