“No presentation of Friedlander’s work is more effective than that of his books…” writes James Enyeart in the essay that accompanies Lee Friedlander’s new book of photographs, Sticks and Stones: Architectural America.

“If you see an apple tree growing in the woods,” says John Szarkowski, “you don’t instantly recognize it as an apple tree because it hasn’t been pruned. An apple tree in an orchard or a farmyard is constantly being pruned to let in the air and let in the light. It is half natural and half man-made.”

In one of the great photographic legends of our century, William Eggleston’s career began in 1967 on the doorstep of New York’s Museum of Modern Art.

To your right, as you walk into Howard Greenberg, Frank Gohlke makes a few poker-faced jokes about parking lots, planting a bush in the center of his frame or leading you in with a few well-positioned arrows painted on the road.

"Nha Trang, Vietnam" is Andreas Gursky at his best. Lady workers weave straw baskets and chairs on the floor of a vast factory. Their scattered presence coheres into a color scheme.

Contemporary art photography finds its audience not only in galleries and museums, but in the alternative space of the magazine. Since Alfred Stieglitz founded Camera Work, the portable space of the journal has served as a real forum for the exchange of ideas in photography.

Catherine Opie shows Surfers at Gorney Bravin & Lee. The most remarkable thing about this exhibition is its installation.

Photography is no passive vehicle between events and viewers: Marco Breuer’s fourteen photographs and thirty-two studies at Von Lintel Gallery are events in themselves.