It’s tempting to call this Garry Winogrand’s moment. In March, a huge retrospective of his work (more than 300 photographs) opens at the San Francisco Museum of Modern Art, then travels to Washington, D.C., New York, Paris, and Madrid. Closer to home, there are “Winogrand’s Women Are Beautiful,” which runs at the Worcester Art Museum through Nov. 10, and “Eye on the Street: Trends in 1960s and 1970s Photography,” at the Smith College Museum of Art. A third of the Smith show comes from Winogrand’s “Women Are Beautiful” series; it runs through Oct. 6.
The problem with that statement is its narrowness: Winogrand’s moment extends so far back, at least to 1988, when New York’s Museum of Modern Art organized its own retrospective of the photographer’s work. He had died just four years before, and the exhibition implied something that soon came to be commonly accepted: that no post-1960 American photographer had a more important body of work.