This photograph invites any number of scenarios to explain the intimate drama at this fancy party, but declines to endorse any single one. Who, for example, might be romantically involved with whom? What has provoked the anxious stare of the woman in the background? We shall never know the answers to these questions.
Winogrand loved to observe the behavior of humans and other animals, and he loved photography's voracious capacity for description, but he did not confuse the two. In his pictures he created a parallel theater of experience, the force of which resides not in the reliability of its facts but in the liveliness of its fictions.
This picture belongs to a long series, begun in the late 1960s, made at demonstrations, press conferences, and other gatherings whose participants expected to be noticed and, often, photographed. For the photographer Tod Papageorge, Winogrand's series vividly evokes the 1960s by offering "a unilateral report of how we behaved under pressure during a time of costumes and causes, and of how extravagantly, outrageously, and continuously we displayed what we wanted."
Publication excerpt from The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 258.