In each gallery of the recently opened Pictures by Women: A History of Modern Photography, you will encounter a wall of photographs (sometimes two) with only pictures of women. This is not because women focused their cameras primarily on their female peers—there are plenty of exceptional landscapes and photographs of other subjects in the Museum’s collection, and a select smattering of these are now on view—but rather because I, along with my colleagues and co-curators Eva Respini and Roxana Marcoci, were fascinated by how these groups of pictures of women and by women suggest, in their diversity, the plasticity of both photography and female identity.
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