Purple Section
Nicole Klagsbrun Gallery (here): Barney Kulok (1)
Kaufmann Repetto (here): Shannon Ebner (1). Another entry in the "built to be photographed" category; this large graphic symbol in cinder blocks by Ebner was priced at $12000.
Rampa (here): Huseyin Bahri Alptekin (3)
Galerie Eva Presenhuber (here): Steven Shearer (3), Amy Granat (1). These floral photograms by Granat are reminiscent of similar images made by Kunie Sugiura, although these have been cropped, reoriented, and transformed into a repetitive, high contrast grid. The work was priced at $20000.
Regina Gallery (here): Nikolay Bakharev (5). I've seen a few of these engaging 1970s beach portraits from Bakharev of late, and they're starting to grow on me. They were priced at $3000 each.
Maureen Paley (here): James Welling (2), Wolfgang Tillmans (2), David Salle (1), Gillian Wearing (1). If there was any one photographer whose work was ubiquitous at this fair, it was Wolfgang Tillmans. This was the best image of his that I saw (due to the complex use of color), a new one priced at $57000 and already sold.
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Stuart Shave/Modern Art (here): Linder (10)
Galerie Perrotin (here): Sophie Calle (4 diptychs)
Galleria Continua (here): Mona Hatoum (1 Polaroid triptych). A simple idea, well executed - deadpan portraits with hair exploded by static electricity. This unique set of three prints by Hatoum was priced at $30000.
Frith Street Gallery (here): John Riddy (1), Tacita Dean (1 set of 14). Extra large versions of these Dean film strip works were recently on view at the Tate Modern. The set of 14 prints (offset not photographic) was priced at £45500.
Sikkema Jenkins & Co. (here): Vik Muniz (1). Washington Crossing the Delaware in Muniz' most recent style, a dense collage of magazine scrap imagery. Priced at $45000, and not surprisingly, already sold.
Galerie Bucholz (here): Wolfgang Tillmans (2), Sam Lewitt (1 set of 10). I liked Lewitt's layered NY Times transparencies, algorithmically reconstructed and subtracted to zero. Priced at $18000.
Kukje Gallery (here): Candida Hofer (1), Jenny Holzer (1)
Alison Jacques Gallery (here): Robert Mapplethorpe (3). I had never seen these particular Mapplethorpe florals before. The single blossoms are bathed in ghostly, almost garish, colored light. Priced at $35000.
Sprüth Magers (here): Andreas Gursky (1), Astrid Klein (4 collages), Thomas Demand (1), John Baldessari (1), Cindy Sherman (1). The reason I included this $285000 Baldessari image in this review has nothing to do with the pig, or the hands, or the composition really. What is impossible to see in this installation shot is that the work had surprising depth; the different colored portions are built up in inch thick layers. Yet another example of reimagining photography with sculptural qualities.
Pink Section
Wallspace (here): Daniel Gordon (1), Shannon Ebner (1), John Divola (1). Textures and patterns abound in this new work from Gordon, playing with idea of the sculptural bust, priced at $5800.
Galerie Neu (here): Bernadette Corporation (3), Tom Burr (1)
Galeria Fortes Vilaça (here): Jac Leirner (1)
Victoria Miro (here): Alex Hartley (1), William Eggleston (1), Isaac Julien (1 diptych)
303 Gallery (here): Hans-Peter Feldman (4), Collier Schorr (1), Stephen Shore (1 set of 8). This is an early conceptual series by Shore from the late 1960s (recently reprinted), where he stands and rotates in a circle, the desert background changing in each shot. Probably been done before and since, but still effective. Priced at $25000 for the set.
White Cube (here): Jeff Wall (1), Gilbert & George (1 set of 9)
Galerie Martin Janda (here): Roman Signer (1 set of 5, 1)
JTF (just the facts): A total of 210 photographs, films, and photobooks, from 80 different photographers/artists, variously framed and matted, and hung in a series of connecting rooms on the third floor of the museum. The works span the period from 1910 to 2009, and are drawn the museum's permanent collection of photography. The exhibit was curated by Roxana Marcoci. (Installation shots at right.)
Gallery 2
Imogen Cunningham (1 gelatin silver print, 1932)
Gallery 3
Robert Adams (6 gelatin silver prints, 1968, 1969, 1970)
Comments/Context: With the job of head photography curator currently vacant, this year's annual rehanging of the permanent collection of photography at MoMA marks a period with the team in transition. In the past, this show was the work of the curators as a group and had a more institutional point of view, but in recent years, the rehang has been given a more personal feel under the hand of a single curator. This year's effort has been organized by Roxana Marcoci, and its thematic construct tilts away from a traditional history of the medium, taking a more anti-establishment view of the progression of artistic ideas. Instead of a parade of beloved and easily recognizable photographic masterworks, this exhibit follows the path of avant-garde and experimental movements of various kinds, tracing lines of criticism, dissent, and rejection of the mainstream. It's a more radical history than we're used to, riskier and less obvious than the one we all carry around in our heads.
The next room continues the between the wars theme with samples of Constructivism, Surrealism, and works from the New Objectivity movement. An entire wall is devoted to images by Rodchenko, offset by examples of letterpress pamphlets and magazines using many of the same images combined with vivid typography and graphic design. Surrealism is led by Bellmer and Kertesz, with an additional dividing wall covered with distorted eyes and faces. Krull, Renger-Patzsch and Sander make up the short history of New Objectivity (where is Blossfeldt?), matched by iconic photobooks from each, including Krull's geometric masterpiece Metal. 
Moving into the 1970s in the next room, Conceptual photography takes the lead, followed closely by the New Topographics and the emergence of American color. Books, postcards, and other materials are seamlessly merged with the photographs, giving Bochner, Kawara, and Ruscha appropriately equal footing with the likes of the Bechers, Robert Adams, and Matta-Clark. The entire corner containing Valie Export's body configurations, Eleanor Antin's lines of rubber boots, and Stephen Shore's dull small town postcards is particularly strong. 
The final room highlights new visual motifs from Graham's time-lapsed series work to Walid Raad's exploration of archival material (car bombs). Given the newness of the work here, the vanguardism and eventual downstream influence is less clear, although all of the pieces have an angle of social or political commentary. Whether these disparate themes congeal into nameable historical movements is too early to tell, but experimental questioning in all its forms is still very much alive and well. 
Collector's POV: Given this is a broad museum show, there are, of course, no posted prices, and with such a wide range of work on view, we'll pass on the usual secondary market analysis for this exhibition. 
