Friday, August 29, 2025

Lowrider Culture in the United States Exhibit Features Photographs By Gabriela Campos

 Via Smithsonian

montage of photographs showing lowrider culture in banner ad for Smithsonian Low Rider exhibit
 La Raza Park, 1980, photo Lou DeMatteis/EspaƱola, New Mexico, 2017, photo Gabriela E. Campos/Newark, Cal., 2020, photo Amanda Lopez*


Appearing at:
MUZEO Museum and Cultural Center , Anaheim, California - 9/13/2025 - 12/14/2025


Lowriding is a quintessential Latino/a tradition started by Mexican American communities in the 1940s to assert their space and empower their lives. This unique car-making tradition is infused with Latino/a soul, entrepreneurship, and ingenuity. A mix of innovation and tradition, lowriding is an affirmation of identity and values that have reached beyond the United States to influence popular culture worldwide.

Lowrider Culture in the United States / Cultura Lowrider en los Estados Unidos is a new exhibition from the Smithsonian that will highlight a diverse selection of vibrant photographs and prints depicting lowrider culture and iconography while documenting its styles in the United States.

This traveling exhibition is based on research from the Smithsonian and will include objects from lowriding art and trade. Audiences will encounter a multifaceted picture of the American experience by learning about the Latino/a community identity through the lens of lowriding and its rich stories of creativity, family, and tradition. Lowrider Culture will examine the history of the post-World War II Mexican American community and the cultural expressions of lowriding through technology, innovation, and style.

photo of lowrider tilted on right side in front of the Cathedral in Santa Fe, NM

A lowrider image by photographer Gabriela Campos, featured in the exhibition






a red low rider cars is parked by the Santuario De Chimayo in Chimayo, New Mexico, on Holy Thursday, 2022


Holy Thursday Visit to Santuario De Chimayo, Chimayo, New Mexico, 2022







Lowrider Culture in the United States / Cultura Lowrider en los Estados Unidos will launch in 2025 and tour through 2028. Venues and dates here.




ArtDaily: Lowrider exhibitions set to cruise into the Smithsonian





Lowrider exhibitions set to cruise into the Smithsonian

Lowrider Culture in the United States / Cultura Lowrider en los Estados Unidos

Tuesday, August 26, 2025

Tracy Barbutes Photographs Yosemite Protest Rally For The SF Standard

Via The San Francisco Standard
August 25, 2025

color photograph of people signing the same trans pride flag that fired Park Ranger Joslin and others helped hang on El Cap earlier this year

At the rally on Sunday, people sign the same trans pride flag that Joslin and others helped hang on El Cap earlier this year. | Source:Tracy Barbutes for The Standard


Protesters rally in Yosemite for ranger fired over hanging trans pride flag
The Yosemite community has been reeling since Shannon "SJ" Joslin’s firing. --Click to read full article

"...then an upside-down U.S. flag in February to protest the NPS budget cuts. None of the people who hung those flags faced consequences. That upside-down flag garnered international attention and showed the power of El Capitan as a symbol"


An upside-down American flag hangs from El Capitan near Yosemite National Park’s Horsetail Falls to protest the thousands of federal job cuts made by President Donald Trump’s administration, February 22, 2025
©Tracy Barbutes


Monday, August 25, 2025

Remembering Hurricane 20 Years Later: Photographs By Stephen Wilkes


a tv is seen partially embeed in the sane on a beach after Hurrican Katrina, Mississippi


Katrina formed on August 23, 2005. It entered the Gulf of Mexico on August 26 and rapidly intensified to a Category 5 hurricane before weakening to a Category 3 at its landfall on August 29 near Buras-Triumph, Louisiana.

Katrina was one of the most devastating hurricanes in the history of the United States. It is the deadliest hurricane to strike the United States since the Palm Beach-Lake Okeechobee hurricane of September 1928. It produced catastrophic damage - estimated at $75 billion in the New Orleans area and along the Mississippi coast - and is the costliest U. S. hurricane on record. Stephen Wilkes photographed the aftermath of Hurricane Katrina. Have we forgotten Katrina's lessons?


View the exhibition online here.

Thursday, August 21, 2025

The Alabaster Grave: Book Signing and Artist Talk With Cengiz Yar August 23

Graphic text announcing The Alabaster Grave: Book Signing and Artist Talk With Cengiz Yar August 23

 We are delighted to welcome Cengiz Yar for a book signing and talk this Saturday, August 23 at 5 PM - free!

This Alabaster Grave is Cengiz Yar’s first monograph exploring the overwhelming destruction and pain faced by the Iraqi city of Mosul, within the context of its history and unique, now largely ruined, architecture. The book questions the cost of the fight against ISIS and global war on terror as told through the lives and city that bore the brunt of its destructive force.

Cengiz is a documentary photographer and editor based in El Paso, Texas who has worked in visual journalism for over a decade, from reporting in the field to building groundbreaking online packages. He is currently a visuals editor at ProPublica, where he edits, photographs, and art-directs stories across the site.



open book with two photographs from The Alabaster Grave book


Tuesday, August 19, 2025

Tracy Barbutes' Transgender Pride Flag Photograph Leads NY Times Article

 Via The New York Times

August 18, 2025


color photograph of a transgender pride play draped in front of El Capitan in Yosemite National Park in May, 2025

A transgender pride flag was unfurled by Shannon Joslin and other demonstrators on El Capitan in Yosemite National Park, Calif., in May.Credit...Tracy Barbutes, via Reuters

Yosemite Biologist Who Hung Trans Pride Flag From El Capitan Is Fired

The National Park Service terminated Shannon Joslin over the May 20 demonstration, which it said took place in a prohibited area and lacked the required permits. -Click for full article




On February 22, 2025 – almost exactly 80 years to the day after Joe Rosenthal’s Iwo Jima Photograph - Tracy Barbutes photographed an inverted American flag — historically used as a sign of distress — off the side of El Capitan, a towering rock formation in Yosemite National Park, hung to protest the Trump administration’s cuts to the National Park Service.


color photograph of giant American flag hung upside down in protest at El Capitan in Yosemite National Park in February, 2025




Monday, August 18, 2025

A Period in Time by Ed Kashi: A Legacy of Photography Shaping How We See the World

 Via Photography Zilla

August 16, 2025

screenshot of Ed Kashi "A Period in time" book cover with black and white photograph of person jumping over  a bonfire


"A Period in Time by Ed Kashi” arrives less as a conventional retrospective and more as a living dossier: over 200 photographs spanning 1977–2022, paired with essays and field dispatches that place the photographer’s eye directly within history. Published by the Dolph Briscoe Center for American History, the book consolidates a career-long commitment to bearing witness — a clear reminder that archives and books can do more than preserve images; they can teach, provoke, and inspire future photo storytellers.

Click for full article


Save the Date: October 3, 2025 Ed Kashi A Period in Time Gallery talk and book signing 5-7 pm at Monroe Gallery of Photography. Exhibit continues through November 16, 2025. 

Sunday, August 17, 2025

Art Heals

 Via The Santa Fe New Mexican

August 17, 2025

"...that’s exactly why I documented the project: the educational purpose behind it is important. It needs to be shared; it’s healing for everyone."  Eugene Tapahe


screenshot of cover of Pasatiempo magazine with photograph showing 3 Native American women in bright Jingle Dresses and red face masks standing in the Salt Flats with blue sky behind them

"Art heals.

There it is. You can quit reading.

Instead, find Carolyn’s column on Page 7 of our hefty, glossy-covered 92-page Pasa magazine that came out Friday — the one with Native photographer Eugene Tapahe’s (DinĆ©) stunning visual on the cover, courtesy of the Monroe Gallery of Photography." 

--Bill Church is executive editor at The Santa Fe New Mexican.


Read the Pasatiempo Magazine article here.

Friday, August 15, 2025

Eugene Tapahe: Standing On Ceremony

Via Pasatiempo

By Brian Sanford

August 15, 2025


cover of Pasatiempo magazine with Eugene Tapahe photography of 3 Native American women in bright Jingle Dresses standing in Utah salt flats

 


When Eugene Tapahe (DinƩ) photographed his daughters and two of their friends posing while wearing Ojibwe jingle dresses at Bonneville Salt Flats in Utah, the purpose was to provide healing during a tumultuous time, not to create art.

It was June 2020, and the world was reeling from the new realities of the pandemic’s social distancing, widespread masking, and living with the pre-vaccine terror that a friendly interpersonal encounter could be deadly. An aunt of Tapahe’s died from COVID-19; amid that emotional trauma, he dreamed he was sitting in a grass field at Yellowstone National Park, gazing at a herd of bison on the horizon. He detected a distinctive sound, then realized it was coming from jingle dress dancers who’d begun dancing with the bison. A sensation rose within Tapahe that most people don’t associate with 2020: hope.

The healing Ojibwe jingle dress dance is thought to have originated during the 1918 influenza pandemic, so its powers resonated especially strong during a remarkably similar calamity about a century later. What began with a 150-mile drive from the Tapahe family’s Provo, Utah, home to the salt flats grew into a nationwide healing journey to national parks and even New York City. Some of the results of that ongoing voyage are featured in Art Heals: The Jingle Dress Project, an exhibition at Monroe Gallery of Photography coinciding with Santa Fe Indian Market, where Tapahe is also bringing his work.

Tapahe traveled with his wife, Sharon; twentysomething daughters Erin and Dion; and the daughters’ friends Sunni and JoAnni Begay. The latter four posed in the vibrantly colored dresses while wearing matching red face masks, their arms raised in unity, at Monument Valley for Solidarity, Sisterhood; on a rock with their backs to the Pacific Ocean on the Oregon coast in Warrior Women; and at the base of the Lincoln Memorial in Washington, D.C., for Forever Enshrined. Some of the images are black-and-white, while others feature only three of the women.


color photograph of 4 Native American women wrapped in colorful blankets standing on fallen tree trunk on La Push beash in Washinton
Strength and Dignity, La Push Beach, La Push, Washington,

Tapahe, a native of Window Rock, Arizona, who holds a Master of Fine Art degree in studio art from Brigham Young University in Provo, recently chatted with Pasatiempo about the spookiness of traversing what amounted to a ghost nation in 2020, combating cultural ignorance, and the pandemic’s effects on both his psyche and his bottom line. His answers have been edited for length and clarity.

Do you always have such vivid, memorable dreams?

Many artists do sketches or preliminary work, but I conceptualize a lot of my works before I start doing art. I think it was a unique situation in that, even when I woke from the dream, it was still resonating with me. It really touched me and affected me to the point where I gave it life by sharing it with my wife and my daughters. The idea [at first] wasn’t to take it to the world; I just wanted to do one dance in a sacred place, to make the dream true.

But when we went out to the Bonneville Salt Flats — which is close to us — and the girls danced, that changed our whole perspective. We were the only people on the land, and there wasn’t a dry eye the whole time. The girls said they knew they weren’t dancing alone; they could feel the spirits of the ancestors of that land dancing with them spiritually. When the dance was over, Dion said, “Dad, we’ve got to take this to the land. We can’t just do it one time.” I said, “In my dream, I was at Yellowstone National Park, so let’s go to national and state parks.” Because those lands were colonized first — taken from the Native people — if we heal those lands and ancestors, they will come and help us heal during COVID.

You mention healing, and people suffered in numerous ways during the pandemic. How were you affected?

My family and I couldn’t go home to help our people and family, so it was difficult to see from afar the pain and death. Because of this, we felt it was important to go on this healing journey so that we could bring healing and unity through art.

Had you already visited all of the places featured in Art Heals: The Jingle Dress Project?

At some points, it was the first time we’d ever been there. In many places, it was really tough because we didn’t spend weeks there; I knew as a landscape photographer that early mornings and late evenings were the best times to take photos and for the girls to perform the jingle dress dance, since the natural light would be better. During the days, we traveled and the girls did their homework, because at the time everything was online.

This project began in 2020; what years does it cover?

It started in June 2020 and continues to this day. We are being invited to universities and colleges to speak and serve on panels. This has given us a great platform to [bring attention to] not just the project, but also to address Native issues, such as missing and murdered Indigenous women, Native rights, Native lands, and land acknowledgement.


black and white photograph of 3 Native American women in Jingle Dresses with right fists raised in front of the Lincoln Memorial
Photographer Eugene Tapahe’s ongoing Art Heals: The Jingle Dress Project at Monroe Gallery features images taken of his daughters and their friends at state and national parks during the pandemic. The images include Forever Enshrined, Lincoln Memorial, Washington, DC (2021, above). 
Courtesy Monroe Gallery of Photography

How did Sunni and JoAnni get involved?

They’re good friends with Erin and Dion. We’re all Navajo, and during COVID, the Navajo Nation shut down and closed their borders, so we couldn’t go home to help or be with our family members. They were already in quarantine here in Utah with our family, and that’s how we managed to do what we did.

The world had largely shut down.

We kept to ourselves; all restaurant dining areas were closed, so we either packed our own food or ordered takeout. We only entered public spaces to get gas and use the restrooms, but we remained very cautious because none of us wanted to get sick. At that time, there were no vaccinations available. When we visited Yosemite National Park, the six of us and two rangers were the only people there. It was a deeply spiritual moment — yet also surreal and eerie. It was late June, and the rangers told us that normally, they wouldn’t have any available camping spots, and the park would usually be filled with thousands of visitors.

How did you get into the park?

At Yosemite National Park, the rangers happened to be Natives [Miwok] from that land, and they already knew who we were. So, when we reached the guard gate, they understood that our purpose was spiritual and healing, and they allowed us to enter. The girls danced at the Indian village, and afterward, the rangers wanted to give them a gift. They shared their popsicles, which were so refreshing on that hot day in June.

Did you have issues accessing other locations?

The only place we thought we might have trouble was Yosemite National Park, because there are only a couple of entrances, but we were fortunate that the rangers there knew what we were doing and understood our purpose. Most of the other parks didn’t have anyone at the entrances because of COVID.

One of your images features the since-closed Nicholas Galanin exhibition Never Forget, consisting of 45-foot letters spelling out “Indian Land” in Palm Springs, California, which was featured in Galanin’s SITE Santa Fe exhibition Interference Patterns. Did Galanin (Tlingit-Unangax) know about your visit?

The organization, Desert X, has a biennial art installation in Palm Springs. We wanted to go there to dance and do a photo session. I reached out to them to let them know we would be coming. They responded on the day of our trip and said they were working on getting Nicholas to fly out the next day to meet us. They also managed to get Congressman Raul Ruiz from Palm Springs to come, and we had an impromptu get-together with Galanin. The ceremony opened with a local Native community performance featuring a traditional Cahuilla bird song by John Preckwinkle III. It was a spiritual moment.

How much do the dresses weigh?

Between 8 and 12 pounds.

color photograph of 4 Native American women in brightly colored Jingle Dresses standing on rock outcropping with Monument Vallery in background

Nizhoni (Beautiful), Monument Valley, Arizona, 20200


You encountered ignorance about Native people during your travels. That likely wouldn’t happen in New Mexico; where did it occur?

Mostly in urban areas; it occurred a few times on the East Coast. When we talked at universities, some people said, “I didn’t know that Native Americans still existed,” or, “Do you still live in teepees?” That’s still out there. It’s still common.

That sounds infuriating. How did you respond?

Our project is both healing and educational. When I was younger, I would have gotten angry, but now I realize they’re not saying it out of racism. Especially on the East Coast, that’s all they learned. In high school, the textbooks focused on Plains Indians, and they learned that Native Americans all lived in teepees, rode horses, lost battles, and were eventually wiped out.

It sounds like this show would be even more educational if it were featured in other areas of the U.S. Do you know if it will become a traveling exhibition?

I really don’t, but that’s exactly why I documented the project: the educational purpose behind it is important. It needs to be shared; it’s healing for everyone.

What are you showing at Indian Market this year?

A few images from [Art Heals: The Jingle Dress Project] will be in my booth, as well as landscapes and a lot of wildlife photography.

You’ve mentioned that the number 4 is considered sacred in Navajo culture. How did it manifest in this project?

We have four girls who represent the four worlds; in Navajo culture, we believe we’re in the fourth world. In the Four Worlds photo, there are four peaks on the Teton National Park mountains. During our photo session, the girls were facing me, and my daughter Dion set up the shot and poses. It turned out that they were almost in the same spots as the peaks on the mountains behind them. When we were ready to start printing the photos, that’s when we all saw it. It’s incredible how this project brought so much healing to us and to those who can see the images now. Art truly heals. 



details

The Jingle Dress Project

Through September 14

Monroe Gallery of Photography

112 Don Gaspar Avenue

505-992-0800; monroegallery.com

Wednesday, August 13, 2025

Independent photojournalist Nate Gowdy was assaulted and detained by police while documenting a protest against immigration raids in downtown Los Angeles, California, on August 8, 2025.

 Via Press Freedom Tracker

August 13, 2025




Independent photojournalist Nate Gowdy was assaulted and detained by police while documenting a protest against immigration raids in downtown Los Angeles, California, on August 8, 2025.

Protests in LA began in early June in response to federal raids of workplaces and areas in and around the city where immigrant day laborers gather, amid the Trump administration’s larger immigration crackdown. Raids at Home Depots in early August took place seemingly in defiance of a July 11 court order temporarily prohibiting federal agents from using discriminatory profiling.

On Aug. 8, two days after an immigration raid in the parking lot of a Home Depot in LA’s Westlake neighborhood, protesters gathered at the store and marched to the Metropolitan Detention Center downtown. The demonstrators and the journalists covering them encountered a violent response from Los Angeles Police Department officers, violating a court order protecting the press from arrest, assault or other interference.

Gowdy, who was visiting from Seattle, Washington, said he had been photographing the Aug. 8 protest with his partner, fellow journalist Carrie Schreck. The two began documenting the demonstration as protesters started to march. The protest remained peaceful, Gowdy said, until the LAPD arrived.

“They basically lined up and without any provocation, in order to move people, started just swinging their batons indiscriminately,” he told the U.S. Press Freedom Tracker.

Gowdy watched as one journalist, Nick Stern, waving his press badge to officers, was struck in the face with a police baton. Gowdy himself was thrown to the ground by several officers, scraping his elbow and damaging the metal connectors on the strap holding his spare camera lenses.

“They were so aggressive and wild-eyed and violent,” he said of the LAPD.

After police declared the protest an unlawful assembly, officers pushed demonstrators farther from the detention center. Gowdy and Schreck had stopped photographing and were leaving the area when they were suddenly kettled, or herded by police, along with a handful of journalists and demonstrators, just three blocks from Schreck’s apartment.

Some had press credentials, but Gowdy said officers ignored them.

“They said they didn’t care, and that everyone should have to line up against the wall,” Gowdy recalled.

The journalists’ hands were placed in zip-tie restraints. While some were released, Gowdy and Schreck remained detained for not having physical press badges. Despite carrying camera gear and being vouched for by their colleagues, the officers questioned their legitimacy and denied their requests to speak with a public information officer.

Gowdy offered to show digital credentials and suggested a quick online search to verify his work with major news outlets, but was told he’d be cited for failure to disperse. He and Schreck were taken to a nearby police station and eventually released after more than two hours in custody.

Gowdy said such traumatic encounters can discourage journalists from covering protests.

“In this case, the law was on our side,” he said. “But they didn’t seem to know the law, or they willfully disregarded it in order to intimidate and harass us.”

Gowdy said he doesn’t wear a press badge when he covers protests in Seattle, after it made him a police target. Covering the Jan. 6 Capitol insurrection, he saw how press credentials can also attract threats from demonstrators. Still, he said this incident convinced him to carry one just in case.

The LAPD did not respond to a Tracker request for comment about the detained journalists. In a statement posted to the social platform X, the department’s Central Division wrote that an unlawful assembly was declared “due to the aggressive nature of a few demonstrators.”

“The protest went into the late night hours with people refusing to disperse,” it continued. “Central Division will continue to support 1st Amendment rights of all people. However, if violence or criminal activity occurs, laws will be enforced.”


The U.S. Press Freedom Tracker catalogues press freedom violations in the United States. Email tips to tips@pressfreedomtracker.us.

Monday, August 11, 2025

“If journalists are not willing to report on the ongoing attacks against the free press, who will?”

 Via Freedom Of The Press Foundation

August 11, 2025


A ‘massive failure’ in Kansas: Two years since the Marion County Record raid

The police raid of the Marion County Record’s newsroom on Aug. 11, 2023, shocked the country but proved to be just one of a series of alarming attacks on local journalism that year. It was also a preview of how lawless and incompetent governments can use strained constructions of the law as pretext to retaliate against journalists they dislike, as we now see not only in small-town America but at the federal level. As the death of Record co-owner Joan Meyer the next day tragically proved, by the time justice takes its course — if it ever does — the damage has often already been done.


We asked investigative journalist Jessica McMaster to reflect on her award-winning coverage of the raid for KSHB-TV in Kansas City, Missouri. The interview is below. You can also read about or watch our discussion with Record publisher Eric Meyer earlier this year. --full article here

Friday, August 8, 2025

Art Heals: The Jingle Dress Project, an exhibition coinciding with Santa Fe Indian Market

 Via Pasatiempo

August 8, 2025

Four Native American women in brightly colored Jingle Dresses stand in tall greet grass with snow-capped Teton mountains in background

Dress Dream

The inspiration for Art Heals: The Jingle Dress Project, an exhibition coinciding with Santa Fe Indian Market that’s showing at Monroe Gallery of Photography, can be traced to a dream that artist Eugene Tapahe (DinĆ©) experienced during the pandemic.

The dream featured the Ojibwe jingle dress dance, an Indigenous dance with roots in healing and spiritual practices — which resonated with Tapahe during a time of widespread illness and social upheaval. Tapahe since has traveled thousands of miles photographing or taking videos of family members and friends performing the dance, documenting a striking combination of brightly colored dance garb and sweeping natural backdrops at national parks and monuments.

A reception is 5-7 p.m. Thursday, August 14, and at 5:30 p.m. Tapahe will discuss the work and preview a documentary he’s developing. Originally from Window Rock, Arizona, he has won awards including best of show in 2018 at the Cherokee Indian Market in Tulsa, Oklahoma. — B.S.


Note: Tapahe talk will be available on Zoom, register here.

Tuesday, August 5, 2025

September 4 On Refractions: A Conversation with Sidney Monroe and Michelle Monroe

 Via B & H Photo


SAVE THE DATE

Thursday Sep 4, 2025 3:00pm - 4:00pm ET

Speakers: Sidney S. Monroe and Michelle A. Monroe - Stephen Mallon

Event Type: Photography


On this episode of Refractions, Stephen is joined by Monroe Gallery of Photography owners, Sidney S. Monroe and Michelle A. Monroe.

Where to watch/listen

Refractions are live videocasts hosted by award-winning photographer and filmmaker Stephen Mallon. Conversations will be with a select group of guests discussing creativity, imagery, business, fine art, and light! Curators discuss working with new and established artists. Photographers talking about their careers. Festival directors sharing what challenges face them. Directors will talk about all aspects of filmmaking. Photo editors will discuss the changing world of editorial and what they need from today’s assignment shooters. The mostly one-on-one conversations will have a diverse group of image makers and the people that work with them.


Monday, August 4, 2025

Andrew Harper: "Art in Santa Fe - a few favorite discoveries from my last trip"

 Via Andrew Harper

"The idea I had for this newsletter back in 1979 – to share information about peaceful and unspoiled sanctuaries with a limited and compatible group of sophisticated travelers – remains at the core of its identity today. There is no concealing my disdain for crowds, noise, rudeness, fast food, packaged destinations, characterless hotels and copycat resorts.”

August, 2025


graphic title page for article about art in Santa Fe with a color photograph of a statues of a Native American woman in a field of yellow flowers


While Santa Fe may not be the site of the country’s first art colony (that’s in New York) or the third-largest art market (highly disputed), a fact-challenged tour guide we overheard was right about one thing: The city has a long and rich history as an artist community. Synonymous with Georgia O’Keeffe, Santa Fe became an art-world darling in the 1980s and ’90s, helped along by artist transplants like Judy Chicago, Bruce Nauman and Susan Rothenberg. Visitors today can browse exhibitions in nine museums and more than 250 galleries. These are a few favorite discoveries from my last trip.


Monroe Gallery of Photography


color photograph of four Native American women wrapped in colorful blankets standing in snow with Teton mountains in background, Wyoming
“Ancestral Strength, Teton National Park, Wyoming, Cayuse, Umatilla, Newe Sogobia and TsĆ©stho’e, 2023,” by Eugene Tapahe

Specializing in 20th- and 21st-century photography, this downtown gallery showcases images “embedded in our collective consciousness,” and a visit is eye-opening and deeply moving. The owners, a husband-and-wife team with deep knowledge of the medium, have personal relationships with world-renowned photojournalists. Their gallery documents the highs and lows of our shared history through powerful snapshots in time. In a single visit, you might see how Tony Vaccaro captured the brutality of the battlefield and the beauty of fashion, how Charles Moore and Grey Villet snapped unsettling scenes from the Civil Rights Movement, and other notable photographers caught intimate moments with celebrities, athletes and heads of state. Taken together, the collection provides a chance to reflect on where we’ve been and where we may be going. Co-owner Sidney Monroe indicated that emotional reactions are commonplace here: “It is as it should be,” he deadpanned.

112 Don Gaspar Avenue. Tel. (505) 992-0800