Holland Cotter of The New York Times argues that though many of the photographs in the MET’s Garry Winogrand Retrospective slide off the eye, the show is still engrossing as it captures a historical moment.
Winogrand was wrong about photographs’ being unable to change society, as he could have seen firsthand: pictures streaming back from Vietnam fueled public opposition to a war he hated. And he was wrong that art had no place for moral statement, that ambiguity was the only way to go, that what you randomly see is all that matters. On this score, however, his thinking was prescient: It’s the dominant ethic in a cash-bloated art world today. –Holland Cotter