Hujar: Contact

Across nine proof sheets, Peter Hujar numbered a sequence in red grease pencil: three shaggy-haired dancers from Robert Wilson's Byrd Hoffman School, running through a seven-part routine. Two of the nine are on the wall, and the numbering shows how he read his own pictures.

The show is more than 110 contact sheets from the 5,783 the Morgan bought in 2013, plus 20 enlargements. The sheets are dusty, bent and scratched, and they carry Hujar's own marks for favourite frames and crops. The museum provides a magnifying glass, and you need it. Curator Joel Smith's focus is process, so the longest strips play almost like film: 24 frames of Candy Darling in 1973, 12 of James Waring in satin and a gold mask.

Paris Review critic Nicholas Gamso found it less gloomy than Hujar's reputation, richer and sometimes funny. Hujar picked his best frames with a red grease pencil. You do it with a heart tap, on the 6 train, through 40 identical brunch photos. It closes 25 October.