The New Documents exhibition at MOMA in 1967, small, framed black-and-white pictures by Diane Arbus, Lee Friedlander, and Garry Winogrand, was modest by today’s standards. The work had a casual, offhand quality and the subject matter was apparently random and ordinary. John Szarkowski described New Documents as a showcase for a new kind of photography from artists who had embraced an almost existential attitude toward the medium, adopting ‘the documentary approach toward more personal ends’.