“The pictorialist juggernaut, while legitimating photography as a ‘fine art,’ was by 1910 all dressed up with no place to go. But in the Soviet Union, in Germany, among the Surrealists, and even a short walk away at the new Museum of Modem Art, photography was unproblematically assimilated as simply another medium in which artists might choose to work. On the walls of 291, the Intimate Gallery, and finally, An American Place, photography was always treated separately; it might have parity with the traditional arts, but remained always ghettoized. The legacy of this separation is with us still; art photography and artists’ use of photography have developed on separate tracks.”

Solomon-Godeau, Abigail. “Back to Basics: The Return of Alfred Stieglitz.” Afterimage 12, no. 1 (Summer 1984): 21–25, 25.