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Evans was Szarkowski’s critical link back to the documentary tradition of the nineteenth century—to Eugène Atget and Mathew Brady—as well as a prescient scout of the best of contemporary practitioners, among them Lee Friedlander, Diane Arbus, and Garry Winogrand, all protégés of Evans’s whom Szarkowski presented in his watershed 1967 exhibition, “New Documents.” Like Evans ...
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