The Met Opens "Now You See It: Photography and Concealment"

  • NEW YORK, New York
  • /
  • April 02, 2014

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Bill Wasilevich. Jimmy "One Eye" Collins after Arraignment, 1946. Gelatin silver print. Twentieth-Century Photography Fund, 2008, The Metropolitan Museum of Art (2008.125).

Now You See It: Photography and Concealment, an installation of 25 works at The Metropolitan Museum of Art, on view now through Sept. 1, 2014, focuses on the dynamic interplay between concealment and revelation in contemporary photography and video art. The featured works, all from the Museum’s Department of Photographs, range from a late 19th–century photograph by Pierre-Louis Pierson to a recently acquired work by Thomas Demand. 

The installation presents works by artists who use the camera to reveal subjects or places ordinarily hidden from view, as well as works that explore broader themes of secrecy and obscured or partial vision. A highlight of Now You See It is Thomas Demand’s photograph Vault (2012). The image is based on a police photograph of a storeroom at the Wildenstein Institute in Paris, where 30 paintings and sculptures that had been missing for decades were discovered during a police raid in 2011. In Demand’s picture, as in the photograph on which it is based, the framed art works are turned to face the walls, remaining tantalizingly hidden from view.

Other highlights include Vera Lutter’s haunting view of the seldom seen interior of the Pepsi Cola bottling plant in Queens, New York, Pepsi Cola Interior II: July 6-13 (2000), and Fazal Sheikh’s Desert Bloom (2011), a series of aerial photographs of the Negev desert. In Grace Nditru’s acclaimed video The Nightingale (2003), the artist explores the tradition of the veil and its complex associations of exposure and effacement. Accompanied by a recording of the Senegalese singer Baaba Maal, Ndiritu evokes a rapid-fire series of cultural references as she performs a hypnotic, Scheherazade-like series of gestures and movements with a piece of fabric, swiftly transforming it from turban to blindfold, and do-rag to noose to niqab. The tension between publicity and privacy, inherent in the field of photography, is explored in works by artists as diverse as Diane Arbus, Lutz Bacher, Jack Pierson, and Taryn Simon.

The 20th-century photographs on view present the theme of concealment in a literal way and include Weegee’s Charles Sodokoff and Arthur Webber Use Their Top Hats to Hide Their Faces (January 27, 1942) and Helen Levitt’s Kids in a Box, on the Street, New York City (ca. 1942).  

The exhibition will also be featured on the Museum’s website at

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