Graciela Iturbide, La frontera, Tijuana, Baja California, México, 1989,
At the Park Avenue Armory, New York, the 45th edition of the art fair reinforces its leadership over photography dealership
When The Photography Show, presented by AIPAD, returns to the Park Avenue Armory from April 22–26, 2026, it will mark not only the 45th edition of the fair but a decisive moment for the Association of International Photography Art Dealers. Organised in 1979, the Association of International Photography Art Dealers, or ‘AIPAD’, has long served as the collective expert voice for fine art photography dealers across six continents. In 2026, the organisation’s flagship event consolidates its position at the forefront of the photography dealership market, with an edition that affirms both its historical authority and its contemporary relevance.
The Photography Show will once again bring together exhibitors from around the world at the Park Avenue Armory, offering historically significant and formally innovative work while continuing the fair’s longstanding commitment to deepening the collective understanding of photography’s history and spotlighting some of the most dynamic examples of contemporary experimentation. This dual focus – reverence for the medium’s lineage alongside a clear-eyed embrace of its evolution – remains the defining characteristic of the fair. The 2026 iteration marks what organisers describe as a crystallisation: after several years of refinement, The Photography Show has reached its optimal size, allowing it to most effectively shape, support, and advocate for the field across its historical and contemporary permutations.
Executive Director Lydia Melamed Johnson tells me, “As a member-based organization, the fair is one of the ways that we serve our galleries, so it changes how the art fair model works. Similar to our organisational peers like [Art Dealers Association of America], [New Art Dealers Alliance] and [International Fine Prints and Drawings Association], we showcase how galleries support artists and the fine art photography ecosystem.” That distinction shapes not only the roster of exhibitors but the intellectual architecture of the week itself.
“Latin American photography isn’t a trend; many of the photographers have been working for decades, and their work has been instrumental in the greater understanding of the region”
“Every year presents new opportunities, and new challenges,” Johnson says. “For the 45th edition of The Photography Show we are premiering a new sector called Focal Point. These single-artist presentations provide galleries with the opportunity to showcase highly specific and intimate projects in a new setting.” Conceived as a dynamic layout within the Armory, Focal Point underscores AIPAD’s commitment to supporting both established voices and the next generation of galleries and photographers, demonstrating how artists have historically expanded our understanding of what photography is and how contemporary practitioners continue to show us what it can become.
The setting itself remains integral to the experience. “Photography belongs in the grandest spaces and the convergence of cutting edge photography with the historic architecture of the building is not to be missed,” Johnson reflects. “I love the juxtaposition of our bright and fresh layout with the more traditional setting. It is truly a pleasure, and an honour, to be able to work within the Tiffany-designed Veterans Room and to bring photography and our design partners into this icon of New York architecture and make it our own, if only for a few days.” The Armory’s grandeur underscores a broader point: photography is not ancillary to art history; it is central to it.
The 2026 edition also reflects a shifting landscape within the market. Over a third of participating exhibitors are women-led, founded, or both, signalling a meaningful move toward greater female-led gallery representation at the highest level of the field. At the same time, the fair’s global scope continues to expand, with new galleries arriving from cities including Seoul, Taiwan, and Copenhagen. Latin American photography, in particular, commands significant attention this year, reflecting both the strength of member gallery programs and the cultural and market leadership of the region.
“The curatorial decision, as always, comes from our Member Galleries and the deep programs they present,” Johnson explains. “The importance of Latin America cannot be overstated, both as a market and cultural leader. The current climate makes visibility vital, and the galleries showcasing Latin American photographers are situated globally, from Buenos Aires to Santa Fe to Paris. This isn’t a trend; many of the photographers have been working for decades, and their work has been instrumental in the greater understanding of the region.” With growing tensions and attacks on the sovereignty of Latin Americans domestically and abroad, the decision to emphasise these galleries is not only responsible but essential.
Among the galleries foregrounding Latin American artists are Momentum (Miami) with Graciela Iturbide, Alfredo De Stefano, Dulce Pinzón, and Persia Campbell (all Mexico); Obscura Gallery (Santa Fe) with Lou Peralta (Mexico); Robert Klein Gallery (Boston) with Sebastião Salgado (Brazil); ROLF Gallery (Buenos Aires) with Sara Facio, Alicia D’Amico, and Adriana Lestido (Argentina); Ruiz Healy (New York and San Antonio) with Graciela Iturbide (Mexico), Cecilia Paredes (Peru), and Kati Horna (Mexico-Hungary); Scheinbaum & Russek (Santa Fe) with Manuel Carrillo and Manuel Álvarez Bravo (Mexico); Sophie Scheidecker (Paris) with Flor Garduño (Mexico) and Sebastião Salgado (Brazil); Throckmorton Gallery (New York) with Graciela Iturbide (Mexico); Toluca Fine Art (Paris) with Johanna Calle (Colombia), Miguel Rio Branco (Brazil), Eduardo Longoni (Argentina), Graciela Iturbide (Mexico), Fernando La Rosa (Peru), and Facundo de Zuviría (Argentina); VASARI (Buenos Aires) with Annemarie Heinrich (Argentina-Germany) and Julio Le Parc (Argentina); and Yancey Richardson (New York) with Tania Franco Klein (Mexico). The fair will also host the first stateside presentation of Proyecto Calle, an Argentine non-profit using photography to help houseless individuals in Buenos Aires document their personal experiences.
AIPAD Talks will anchor the week with twelve conversations covering photographic processes, histories, and contemporary practice. Lead Cultural Partner MUUS Collection returns for 2026 with a discussion on photographer Rosalind Fox Solomon, plus talks on cross-cultural American identity and artist-collector dialogues. The International Center of Photography will host a full day at the fair, including its own talks program and a public Faculty Critique.
The AIPAD Award and AIPAD Lifetime Achievement Award will be presented on opening night. For the first time, the Aperture Portfolio Prize will also be awarded at the fair, with all five finalists featured in a group exhibition and AIPAD Talks program. ICP Infinity Award winner Tarrah Krajnak will give a talk on April 24th as part of ICP’s partnership with AIPAD.
In a year when the role of art fairs continues to be debated across the art world, AIPAD’s 2026 edition offers a persuasive model: a member-driven, intellectually rigorous, globally engaged event that balances scholarship with commerce and history with experimentation. And, the emphasis on Latin American galleries emboldens that commitment even further. It is precisely this equilibrium that solidifies AIPAD as the leader in the photography dealership market today. When asked what she hopes visitors take away from this year’s fair, Johnson answers without hesitation: “A renewed sense of optimism, inspired by the artists who continuously work to shape how we see the world and interact with each other… and a photograph”.