Kata Geibl, There is Nothing New Under The Sun, The Race Horse, 2022 – Courtesy of the artist & Rechnitzer Gallery

Paris Photo, the leading international fair dedicated to photography and image-based art, will return next November to celebrate its 29th edition at the Grand Palais.

Main Sector & Prismes projects

At the heart of the nave, the Main Sector brings together 152 galleries from 32 countries. The selection comprises 44 solo shows, 10 duo shows and 93 group exhibitions, alongside four Prismes projects designed specifically for the spaces of the Grand Palais.

From historical works to contemporary practices, the sector creates connections between different generations of artists and multiple histories of photography. The presentations explore the medium’s documentary uses as well as its artistic, political and experimental dimensions.

Jinyong Lian, from “Trust Me” project / Paris Photo Students Prize 2026

John Divola, Sheila, 2026 – Courtesy of the artist & TBW:Books

Léonard Pongo, Untitled (Primordial Earth / Nyamulagira), 2019 – Courtesy of the artist & Kristof De Clercq Gallery

Kati Horna, El botellón, from the series ‘Paraísos artificiales’, 1962 – Courtesy of the artist, Archivo Privado de Fotografía y Gráfica Kati y José Horna, S.C. & Proyectos Monclova Gallery

Bicentenary of Photography

To mark the Bicentenary of Photography, several projects in the Main Sector revisit the origins of the medium and the transmission of its techniques. Hans P. Kraus Jr. brings together works by Louis Daguerre, William Henry Fox Talbot, Anna Atkins and Girault de Prangey, created using some of the earliest photographic processes.

These historical works are presented alongside contemporary explorations. Christophe Gaillard dedicates a solo show to Isabelle Le Minh, whose work examines the history, forms and limits of photography, while Binome presents a body of work focused on the materiality of the image.

Molly Matalon, Grand Prismatic Spring, 2025 – Courtesy of the artist & Palm* Studios

Nadine Ijewere, Fisherman’s Cove, Jamaica, Senegal, 2020 – Courtesy of the artist & Huxley-Parlour

Mirjam Reiter, from “Home story” project / Paris Photo Students Prize 2026

Mark Ruwedel, Orchard #16, 2021, 2021 – Courtesy of the artist & Large Glass

Solo shows – 44 projects

For this new edition, the Main Sector features 45 solo shows. By dedicating their presentations to a single artist, galleries offer an in-depth view of the artist’s work through a particular series, period or body of work.

Among the historical projects, Duncan Miller presents photographs taken by Stanley Kubrick in the 1950s, while Miranda features Merry Alpern’s iconic Dirty Windows series. Proyectos Monclova brings together works by Kati Horna from several different series. La Cometa dedicates its presentation to Miguel Angel Rojas, whose work documents clandestine gay encounters in Bogotá cinemas during the 1970s.

The selection also includes contemporary presentations. BIENVENU STEINBERG & C presents Juan Manuel Echavarría’s work on the traces left by the armed conflict in Colombia. Public Relations dedicates its project to works by Elle Pérez, while Huxley-Parlour and Patricia Conde present Nadine Ijewere and Alejandro Cartagena, respectively.

Ion Grigorescu, Marica at the Sea Side I, 2024– Courtesy of the artist & Gregor Podnar Vienna

Evelyn Bencicova, Not your dream, 2017 – Courtesy of the artist & Artemis Gallery

Alejandro Cartagena, from New Alphabets, 2026 – Courtesy of the artist & Carmen Araujo Arte

Group Shows — 93 Projects

For this new edition, the 93 group shows showcase the diversity of photographic languages. Highlights include a MEM project dedicated to Subjective Photography in Japan. At Lia Rumma, Marina Abramović, Vanessa Beecroft and Shirin Neshat explore the political dimension of the body. With Echoes, Large Glass places works by Mario Cresci, John Gossage, Guido Guidi, Mark Ruwedel and Ursula Schulz-Dornburg in dialogue with historical references from the medium.

Elles x Paris Photo

A program dedicated to women photographers, supported by the French Ministry of Culture
Curator Aldeide Delgado has been invited to create the Elles × Paris Photo path dedicated to women artists, in partnership with the Ministry of Culture. Since it was created in 2018, Elles x Paris Photo programme has increased the representation of women artists at the fair from 20% to 38%.

Aldeide Delgado is an art historian, curator, and founder of WOPHA (Women Photographers International Archive), an institution dedicated to highlighting the contributions of women and non-binary artists to the history of photography.

Camille Cellier, from “There Will Come Soft Rains” project / Paris Photo Students Prize 2026

Brandon Gercara, Ben Dabenda, Série Conversations, 2019 – Courtesy of the artist & DS Galerie

Dionne Lee, Untitled Rock Drawing (II), 2023 – Courtesy of the artist & Petra Bibeau

Voices Sector

Launched in 2024, the Voices Sector is entrusted each year to guest curators, who develop a proposal around a specific theme.
For its third edition, Zasha Colah and Francesco Zanot explore the Disappearance in a dedicated space within the nave.

The Disappearance

“As the Bicentenary of Photography approaches, the medium finds itself in a paradoxical position. Conceived, among other reasons, as a tool to preserve what would otherwise vanish, photography is now being celebrated at a moment when its own traditional form appears increasingly unstable, transformed, and challenged by processes that are altering its nature and status. This paradox is the curatorial starting point for this sector. Referring implicitly to the surviving image traditionally associated with photography’s origin, View from the Window at Le Gras, the project rethinks an anniversary that can also be read as a threshold: between commemoration and obsolescence, between mourning and re newal. In this sense, the history of photography becomes inseparable from the broader cultural, political, and material conditions of disappearance. The section investigates disappearance through multiple perspectives and tempo ralities. It brings together historical pieces produced to record subjects, places, and phenomena on the verge of vanishing, alongside contemporary practices that use pho tography to resist the marginalization of vulnerable communities, endangered lands capes, and fragile social realities. Other artists engage the notion of disappearance as a material process, creating works destined to alter, fade, or auto-destruct over time. Others push photography beyond its conventional boundaries by merging it with pain ting, sculpture, installation, or other languages and disciplines, to the point where the photographic image becomes barely recognizable. Particular attention is also given to practices shaped by algorithmic editing, software manipulation, and artificial intelli gence, where images retain a photographic appearance while increasingly severing their indexical relation to reality.” Bringing together historical and contemporary positions, as well as works ranging from straight photography to hybrid visual languages, the section reflects on disappea rance not only as a subject represented by photography, but as a condition increasingly affecting the medium itself.“

Philippe Jarrigeon, Pansies, Set design Studio by Végété, 2026 – Courtesy of the artist & Maison Ruinart

Shigeru Onishi, Title unknown, 1952 – Courtesy of the artist & MEM

Silina Syan, Made in Bangladesh séries, Bidyakut 7, 2026 – Courtesy of the artist & Galerie Fahmy Malinovsky

Digital Sector

For its fourth edition, the Digital Sector opens a new chapter under the curatorship of Marco De Mutiis, Digital Curator at Fotomuseum Winterthur in Switzerland. It brings together 12 contemporary art galleries, curatorial platforms and special projects exploring the transformations of the photographic image brought about by digital technologies.

A word from the curator

“If photography has shaped the way we look at, interpret and construct the world for the past two hundred years, it is equally true that this photographic vision has continually evolved in step with technological change. After more than three decades of digital imagery entering the photographic medium, we no longer ‘see’ through the prism of optics alone. Our gaze is informed by the layers of Photoshop as much as by the aesthetics of social media, facial-recognition algorithms and internet memes. We interpret reality through the culture of selfies and smartphones, digital graphic design and photorealistic artificial intelligence, screenshots and the economy of the ‘like’. [ . . . ]

In short, these works are experimental yet rooted in the photographic: they push the boundaries of the medium while remaining open to exchanges with its history, its materiality and its enduring capacity to renew the way we see. As part of the Bicentenary of Photography, the Digital Sector brings its legacy and its future into view at the same time—from the origins of the medium and a technique that revolutionised vision to the emerging forms that will shape the way we look at the world over the next two hundred years.”

Summer Wagner, Ivy Street, 2026 – Courtesy of the artist & Nguyen Wahed

Stefano Graziani, Natura Morta con Pappagalli, 2020 – Courtesy of the artist & Galleria Mazzoli

Stanley Kubrick, Stanley Kubrick 3, 1950 – Courtesy of the artist & Duncan Miller Gallery

Emergence Sector

The Emergence sector presents a new generation of artists and galleries whose practices are reshaping the forms and uses of contemporary photography.

20 projects – 9 countries

The selected projects address a wide range of realities, from everyday life to historical and political narratives. Ricardo Cases photographs a carpenter taking a nap in his workshop as part of a body of work exploring time, repetition and the gestures of daily life.

Randa Mirza combines photography, poetry and calligraphy to evoke the destruction caused by war in southern Lebanon. Nicolás Combarro works with the material and immaterial remains of architecture. In Hotel of the Looted Artefact, Agnes Essonti Luque addresses colonial looting and the restitution of objects.

Dev Dhunsi draws on personal, diasporic and colonial narratives, combining documentary and myth, archives and allegory, photography and textiles. Magdalena Wysocka and Claudio Pogo, along with Kristina Õllek, further explore the materiality of the image. Brandon Gercara and Yumna Al-Arashi develop projects that employ fictional strategies.

Miranda Barnes, Social Season, 2026 – Courtesy of the artist & MACK

Ulrike Rosenbach, Female Energy Change 2 – “Supergirl”, 2026 – Courtesy of the artist & Galerie Gisela Clement

Viktoria Binschtok, pumps (endless cluster), 2015 – Courtesy of the artist & Klemm’s

Vincent Fournier, Rosa Aetherialis, 2024 – Courtesy of the artist & Galerie Au Cube

Book Sector

This year, the Book sector brings together 49 publishers and specialist booksellers from 17 countries. Located on the first floor of the Grand Palais, along the walkways and in the Galerie Courbe, it offers a panorama of international photography publishing, from contemporary publications to historical and rare books. Alongside MACK in London, Atelier EXB in Paris and Aperture in New York, the 2026 edition welcomes several first-time exhibitors: Gato Negro and Obsidiana from Mexico City, Palm*Studios from London, Sun Archive from Wrocław and Fw:Books from Amsterdam.

Paris Photo 2026
November 12–15, 2026 / Paris Photo, Grand Palais, Paris, France
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