Support for this exhibition is provided by an anonymous donor, the members of The San Diego Museum of Art, and the County of San Diego Community Enhancement Program. Asked about his perspective on the subway as it exists now and how it has changed, Davidson replies: “Of course you have to be aware of not standing too close to the platform and things of that nature to avoid catastrophe. The images present the full gamut of New Yorkers, from weary straphangers and languorous ladies in summer dresses to stalking predators and homeless persons. Préface de Henry Geldzhaler et 56 illustrations photographiques en couleurs choisies parmi plusieurs milliers de clichés réalisés par le photographe entre 1980 et 1985. Here, the enclosed world of the subway is a metaphor for New York itself, in all its frantic hustle and bustle its violence, its humanity and its hope.

Davidson’s accompanying text tells the story behind the images, clarifying his method and dramatizing his experience. If they hesitated, I would pull out my portfolio and show them my subway work; if they said no, it was no forever. His mornings started with him packing his cameras, strobe light, lenses, filters, and accessories in a small canvas bag.

Also, just for precautionary measure, he wanted to be in good shape if something went wrong down there in the underground.

x 12 inches, 125 pages, gray cloth with lettering stamped in black, matching slipcase, slight soiling and wear to slipcase, Expanded version of the book that was originally published in 1986, with the photographs produced during 1980 and 1981. He then was able to capture some of the most terrifying moments of evil, violence, and death; something street photography newbies would struggle with.As I went down the subway stairs, through the turnstile, and onto the darkened station platform, a sinking sense of fear gripped me. We were all in the same boat and I was just expressing the everyday occurrences in the subway at that point in 1980.

After a solo exhibition at The Museum of Modern Art in 1963, Davidson spent two years photographing in Harlem, resulting in the book East 100th Street. In 1980, after living in New York City for 23 years, Davidson began Subway, his startling color essay of urban life. Both a captivating study of light and color and a historical document of an elemental part of New York, Subway captures the many faces of the underbelly of this city. full-pg illustrations in color, signed by Davidson on the half title, afterword by Henry Geldzahler; fine in original gray cloth, pictorial dust jacket.Davidson continues to create classic bodies of work from his 50-year career that have been extensively published in monographs and are included in all the major public and private fine art collections around the world.