I met Mark at Annex Gallery, where he is working as an intern. Before I knew he made photographs, and therefore counted as an artist, I thought of him simply as someone who always needed a drink bottle within reach. One of those insulated flasks used by athletes or hydration fanatics that seemed to follow him more faithfully than his own shadow. I also knew, before seeing a single picture, that he supported Barça.

Talia Chetrit’s presence on the contemporary map of photography is not defined solely by the dismantling of her own intimacy. Born in 1982, trained in the analog tradition and in a visual thinking acutely aware of its own mechanisms, she has turned the domestic sphere into a territory of suspicion, especially in the series where she grazes—without fully yielding—the experience of motherhood.

The fall edition of The Paris Review features the work of two artists. Martha Bonnie Diamond is one of them. Born in New York in 1944, she died just two years ago, in 2023. She was among the most singular pictorial voices of her generation. For more than six decades she explored the city as a perceptual register. Rendering it recognizable never interested her.

Evelyn Sosa is a young Cuban photographer who has already left a subtle yet unmistakable imprint on the artistic ecosystem of the American Midwest. In 2024, she took part in Through a Stranger’s Eyes, an exhibition presented under the FotoFocus program. Coming from the Caribbean—and, more precisely, from Miami—she introduced a transnational conversation rarely encountered in these latitudes.

A few weeks ago, I visited Snakes and Ladders, the endearing exhibition by Sheida Soleimani at the Contemporary Arts Center in Cincinnati. What struck me most was the meticulous care with which she constructed the settings that would provide a specific frame for the subjects of her photographs. I had the impression that she did not want to leave anything to chance...

The universe is a concert of patterns. Galaxies, solar systems, and planets share elements in common and others that set them apart. The same holds true for nations, cities, and communities. Cincinnati possesses a remarkable artistic community. As I gradually come to know its members, patterns begin to reveal themselves—those that identify them as part of a universal order, and those that distinguish them from others operating in different ecosystems, whether within the metropolitan circuits of Europe or in what is often called the Third World.

Yesterday—quite late in the day—I learned of the tragic passing of the artist Rewell Altunaga through a post by Jesús Hdez‑Güero, another Cuban creator based in Madrid. Hdez‑Güero shared the article CNN published just yesterday on its digital edition. The piece, written by Ray Sánchez—a Puerto Rican journalist who once reported from Havana for the network—notes that he would often come across Rewell on the streets of West Harlem, in northern Manhattan.

Last week, at the exhibition Osy Milián opened at Galería Zapata, I told Evelyn Sosa I wanted to write about one of her photographs. I also told her that it would not be an interpretation or a critical assessment of her work, but rather of that particular image. And I did not say then—though I say it now—that if the result resembled what is known in the field as an “art review,” it would be incidental and by no means intentional. That said, above you can see the photograph in question: one that draws my attention more than any of the others I’ve kept.