The subway was dangerous at any time of the day or night, and everyone who rode it knew this and was on guard at all times; a day didn’t go by without the newspapers reporting yet another hideous subway crime. I photographed the people I had known there, survivors from the war and the death camps who had clung together after the Holocaust to re-root themselves in this strange land. He familiarized himself with a smaller area, and used that to tell a much larger story, due to the intimacy with his subjects.

When it went off, everyone in the car knew that an event was taking place—the spotlight was on someone. Celebrating a recent gift from the collection of Wanda and Cam Garner, this exhibition presents a range of colorful, visceral, and surprisingly intimate portraits of passengers taken during a notoriously dangerous time in New York City. Dustjacket wonderful fresh with slightest trace of use, but with no tears, no missing parts and no remarkable flaws or defects. Davidson had an intimate style, and he often embedded himself closely with his subjects to complete his projects.

Henry Geldzahler was a curator of contemporary art in the late 20th century, as well as a modern art historian and art critic. It received plenty of critical acclaim both as a document showing the unique moment in the societal fabric in New York City as well as its phenomenal use of extremes of shadow and color set against flash-lit skin. Davidson started playing at being a detective, channeling the idea in the subway that he was untouchable. Steadily deteriorating ever since the opening of the first underground line in 1904, by the time Davidson embarked on his project in the spring of 1980, the subway had reached its lowest ebb. You can change your choices at any time by visiting Cookie preferences, as described in the Cookie notice.

As our being is exposed, we confront our mortality, contemplate our destiny, and experience both the beauty and the beast. Yet, as is the paradox of New York itself, these photographs also highlight the isolation of individuals within this sea of passengers; in his words “ [people] who are trapped underground, hiding behind masks, and closed off from each other. He also carried quarters in his pockets to hand out to the people in the subways who often ask for money. I found that the strobe light reflecting off the steel surfaces of the defaced subway cars created a new understanding of color. He knew he had to train like an athlete to carry around his heavy equipment in the subway for hours each day.His initial expeditions into the subways were hindered by the fears of attack from street urchins, as he was seen as a tourist with expensive equipment in the most dangerous neighborhood of the city. In this third edition of what is now a classic of photographic literature, a sequence of 118 (including 25 previously unpublished) images transport the viewer through a landscape at times menacing, and at other times lyrical and soulful. Emblazoned with graffiti and bathed in the unsettling fluorescence of cheap strobe lights, for most, it was a perilous place replete with violent gangs and the homeless.