In addition to the prints in the main gallery, there are a variety of other ancillary mini-exhibits also on view. In the book alcove, there are 16 images from the expanded version of East 100th Street; these are works that did not appear in the MoMA exhibit. They are 11x14 modern prints, framed and matted in thicker white frames, and hung against cream colored walls. A glass case also holds a sample of vintage books.
The first viewing room holds a total of 11 platinum prints of Central Park, made by Davidson in the 1990s and printed in 2008. The works are either 5x12 or 6x10 and are framed and matted in black.
The second viewing room has a total of 6 vintage images from Davidson's series on Brooklyn gangs from the 1950s. Most of the images are approximately 13x9 (or reverse) and are framed and matted in black.
And finally, in the back room near Greenberg's office, there is a small selection of 6 vintage images by Man Ray: 2 rayographs, 2 nudes and 2 portraits (Picasso and Cocteau). The works are from the 1920s and 1930s and are variously framed and matted.
Comments/Context: Since its publication in 1970, Bruce Davidson's East 100th Street has been a controversial body of work. Many have hailed it as a classic of social documentary photography, while others have criticized it as particularly exploitative. This exhibit is a kind of time machine, taking us back to the show of these images at the MoMA, as curated by John Szarkowski; the sequencing and grouping, even the frames are for the most part exactly the same. Of course, it is impossible to also transport our minds back nearly 40 years and react to the images in the same polarized way visitors did back then. All we can do is see them through the lens of the present, a kind of revisionist history of the resonance of the pictures and how well they have aged.