“I’m not looking for the outer coating,” says the New York photographer Rosalind Fox Solomon. “I want a few moments when we stare into one another, exchanging our histories and feelings in a glance.” Across Solomon’s work, from Poland to South Africa, from AIDS patients in the 1980s to racial tensions in Chattanooga, Tennessee, those glances are marked by a pure constancy of vision. Her photographs—often square-format and distinguished by the silver sheen of an on-camera flash—extend the sharpened humor and interrogative style of Lisette Model, her mentor. For Solomon, who started taking pictures in her

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