The Center for Photography at Woodstock (in Kingston, New York) recently opened the first-ever New York Upstate Photography Biennial, featuring the work of 39 artists who live and work across the Hudson valley and beyond. The show, co-curated by Marina Chao and Adam Giles Ryan, highlights the diverse work of photographers in the upstate region. Their images will be on view until 6 September 2026

Morgan Gwenwald, from the series The Revolution Will Not Be Televised, 1974

In the early 1970s, when Patty Hearst, the granddaughter of William Randolph Hearst, was kidnapped by the Symbionese Liberation Army, Morgan Gwenwald taught and photographed members of a lesbian feminist collective how to shoot rifles in the nearby woods. Inspired by this movement, Gwenwald created a BFA thesis project, The Revolution Will Not Be Televised. She later failed out of the art department at Florida State University, which led her to turn her camera toward photographing the lesbian and queer rights movementsPhotograph: Morgan Gwenwald/CPW

Allison DeBritz, I Feel Everything, 2025

Through her collages, Allison DeBritz aims to challenge how mainstream media objectifies women’s bodiesPhotograph: Allison DeBritz/CPW

Robert Kalman, Beth Davison, 2022

Robert Kalman’s portraits were born out of his ongoing project in which he takes an image of a person and asks them a single question: ‘What’s it like for you to be an American?’ He pairs the image with a handwritten response from each person photographedPhotograph: Robert Kalman/CPW

Elizabeth Pedinotti Haynes, Infestation, 2024

In Haynes’s family table series, everyday objects are arranged and altered to rethink their usual function in the kitchen. Her series rethinks the space of one’s home as a performance space shaped by one’s expectationsPhotograph: Elizabeth Pedinotti Haynes/CPW

Kevin Williamson, Dan and Paul by the River, 2025

Kevin Williamson made his images in his birthplace, the Hudson valley. Williamson views the region as an ever-changing place, often stuck between the urban and the rural, the past and the present, and never settling into one narrativePhotograph: Kevin Williamson/CPW

Viktorsha Uliyanova, Nina, 2024

Nina is part of Viktorsha Uliyanova’s ongoing series titled Quieter than Water, Lower than Grass, which confronts the forced obedience and conformity imposed on people in Russia. Her images are suspended lengths of recycled textiles printed with photographs of Soviet panel buildings and images from her family photo archive. She argues that the personal narrative of her work serves as resistance to the Soviet government and as counter-propagandaPhotograph: Viktorsha Uliyanova/CPW

Allie Tsubota, from the series Dead Letter Room, 2022

Dead Letter Room combines images of Allie Tsubota with fictional letters she received from Tamiki Hara that recount his account of the bombing of Hiroshima. Her contemporary photographs, paired with the correspondence, reflect on time, memory and lossPhotograph: Allie Tsubota/CPW

Ann Burke Daly and Marion Belanger, Night Studio: Temporal Dislocations – 365 Days; January 2025

Ann Burke Daly and Marion Belanger began working on Night Studio with digitized glass plate negatives from Harvard College Observatory. Women, called ‘computers’, originally produced the negatives to catalog and study the night sky. They worked to combine the images with their own exposures, printing and annotating while reworking the surfaces by hand. Each photograph has multiple layers that combine the past and presentPhotograph: Ann Burke Daly and Marion Belanger/CPW

Seth David Rubin, Portrait of Laura, from the series Placements, 2024

Seth David Rubin constructs a visually fractured reality through mirrors. He argues that his images are a more accurate representation of reality, as humans’ perceptions are often incomplete and haphazardPhotograph: Seth David Rubin/CPW

Lyle Ashton Harris, Untitled (Lyle and Robert, Bronx, New York, circa mid-1980s), 2022

Lyle Ashton Harris and his studio team recently found images he had taken decades before. The photographs from his years before college and through his graduate studies are self-portraits and photographs of friends and lovers from the late 1980s through 2000 that make up Harris’s series, Ektachrome Archive.Photograph: Lyle Ashton Harris/CPW

Luis Manuel Diaz, Untitled (Self Portrait with the Family Tree), 2024

The image is part of Luis Manuel Diaz’s ongoing series Canta y No Llores, which comprises decades of images made between his family homes in rural Michoacán, Mexico, and suburban New York state. He uses the images to explore migration and the things people carry with them when they start a new life, as well as those they leave behindPhotograph: Luis Manuel Diaz/CPW

Meryl Meisler, Six Rox Republic Legs on The Bar, Le Bain, New York, NY, June 2025

Meryl Meisler’s photographs the behind-the-scenes, performance and pause of the nightlife she has been part of for decades. Her images are a first-person account of her community, grounded in familiarity and trustPhotograph: Meryl Meisler/CPW