After all the noise, I decided to walk over to the Evans show this afternoon. Those of you who are boycotting on principle are depriving yourselves of a treat.

The show is limited to Evans's work in 1935 and 1936. It has Evans's work in a variety of media. In addition to the inkjet prints, it has signed silver gelatin prints, gravures, and halftones in books.

As for the inkjet prints: I thought they were a mixed bag. They were "warmer" not in a romantic way, as others here have speculated. Rather, they were slightly warmer in tone, as most archival inkjet sets are. I hate to say it, but when put behind glass in a frame on the wall, I don't think I could distinguish the smaller inkjet prints from silver gelatin ones.

The larger inkjet prints were another story. Some of the big inkjet prints (e.g., Joe's Auto Graveyard (1935), had texture issues that made them look like, well, inkjet prints from image files that had been oversharpened. But then there was a big print of a family (Bud Fields and Family (1935), and it was staggering. I was drawn at once to their gnarled, dirty fingernails and toes, and the wisp of a starved black cat under the bed -- details that I would have missed in a smaller version.

In the end, I have a hard time getting upset about the use of inkjets to reproduce Evans's work, so long as the media is disclosed by the exhibitor. There is the different and more troubling question of posthumous printing of Evans's photographs -- but that, to me, is an issue whether they be inkjet or silver gelatin prints. The (brief) exhibit catalogue argues that Evans sold his negatives when he was near death, and so must have expected others to print his negatives. The catalogue also notes that the production of these prints was overseen by Evans's own printers, in accordance with Evans's written corrections to galley prints of his photographs in books of his work.

If you can get yourselves to Sixth and 51st, go see the show before condemning it. It is quite something to see.

Sanders McNew