AIPAD has wrapped for another year — and if you’ve ever made the pilgrimage, you know this isn’t just another art fair. It’s the photo fair. The world’s longest-running, and one of the most thoughtfully curated, now set beautifully within the walls of the historic Park Avenue Armory.
With 78 galleries from across the globe, the fair brought together an exceptional array of vintage masterpieces and contemporary visionaries. It was a heady experience for any lover of photography — a place where 19th-century daguerreotypes shared space with today’s lens-based provocateurs.
We spent multiple days wandering the halls (link to day 1 impressions here), and here’s what stood out:

Larry Fink’s work, showcased by MUUS Collection, was a powerful highlight. Seeing his raw, soulful imagery in a dedicated space was a reminder of what photography can do at its most honest. And if you’re hunting for the icons, they were well represented — timeless, familiar prints that still stop you in your tracks.
But the story wasn’t just about the past. Contemporary voices were loud and clear, with a strong spotlight on women artists. One of my favorites from last year, Sharon Walters was back with new works, and it was inspiring to see her evolution firsthand.

The programming was tight too — Arthur Elgort and Michael Stipe both drew serious crowds with talks that cut through the noise.

A special note on Sophie Elgort’s show Portrait Mode on All Arts — it’s a must-watch deep dive into the creatives behind the camera.

If you were considering making your own photobook, there was solid panel of publishers and designers pulling back the curtain on how to do it. I’m sure they each left with bags of business cards for those inspired photographers looking to make their legacy project

As always, the fair brought out a wide spectrum of attendees:
• Collectors, seasoned and new.
• Photobook obsessives (guilty).
• Curious wanderers, soaking in a cultural art fair moment.

And of course, the practitioners of the medium usually come to the fair. The people behind the camera, and those who give us all an additional insight.

Like Elliot Landy, who has photographed the musicians you know and love, and the album covers you may cherish. Wait till you click on his link!

And Vince Aletti, one of the best photo critics I have ever read!

We asked around — were dealers selling? The answer: an emphatic yes. More than a few gallery owners told us that long-dormant collectors returned to make big purchases. New buyers tested the waters, possibly seeing photography as a stable investment in a shaky financial landscape. And of course, the 1% never left.

Record attendance hit 15,000 this year. That’s no small feat. And with every day I spent there (four in total), I spotted work I’d completely missed the day before. That’s the beauty of this show: it unfolds in layers. Plus many of the artists were there to discuss their work. That enriches the experience, and gives a BTS look at the creating of these major pieces.

If your walls are full , the book sellers were there to make sure your shelves weren’t. Between Aperture, Thames & Hudson, and a well curated spread of small-press offerings, the tables were impossible to resist. (I tried. I failed. Again.)
Limited editions, overlooked gems, and tactile art in book form — if you know, you know. The smaller publishers in particular brought heat this year with publications that felt deeply personal and unique.

So yes, AIPAD 2025 delivered. It balanced the vintage with the new, commerce with curiosity, and art with intention. If you’re even remotely photo-inclined, mark it on your calendar for next year.
Until then, happy collecting. And if you’re a fellow photobook addict — solidarity.