Just this weekend, during commercial breaks in the Bears game, we were looking at a copy of photographer Henri Cartier-Bresson's amazing book "About Russia," and loving it all, having never seen it before. And as luck would have it, then we heard about another bit of unseen Cartier-Bresson by way of the wonderful Design Arts Daily newsletter (DART), about the really incredible exhibit they've just opened at the International Center of Photography in New York, recreating his 1947 memorial exhibition at the MoMA (despite the fact nobody knew, that he was still very much alive). It's a great story, and we're aching to check out the exhibit. Here's from the ICP:

Upon his arrival in New York in April 1946, he bought a scrapbook into which he meticulously glued all the prints in chronological order. These prints, mostly removed from the scrapbook by Cartier-Bresson in the 1990s, have been reassembled for this occasion. The exhibition is organized by Agnes Sire of the Fondation Henri Cartier-Bresson in Paris, where it first appeared; it will have its sole American venue at ICP.

And from the DART review:

The intimate scale and quality of these photographs, which Cartier-Bresson himself printed, provide a neutral environment for an education about his process and artistic development. It becomes apparent that making the right choice -- of subject, point of view, or time of day -- was his greatest talent. There are surprising images, many never before exhibited, from a landscape without horizon or sky to a double portrait of Spanish prostitutes posing in their windows. In a group of pictures from Morocco, there are two versions of the same scene -- one vertical and one horizontal - of children running across a sun-scorched field. That the photographer did not relegate one to the trash is his gift to the viewer; here he proves beyond doubt that there is one decisive moment per picture.