The book The Space Between Us invites us to reexamine the sometimes murky or luminous, but always unstable and ultimately mysterious, bond that connects the one who takes the photograph and the one who is captured in the act of being photographed. What does the image reveal about the relationship between the two bodies, the subject and the photographer? Complicity, a mutual gaze, a pact sealed by one’s gaze upon the other’s appearance? Snapshots or staged shots, reportage photographs, self-portraits, nude and intimate scenes, collaborative exchanges between model and photographer: what does the image of the subject captured on fi lm reveal, and what does it show of the space between the two? What does the subject reveal to the photographer’s retina and to the mechanical eye of the lens? This exploration of Michael Wilson’s prestigious collection, centered on the representation of the body and the space between the photographer and their subject, offers both numerous insights into the history of the medium in the 20th century and a wide range of relationships that unfold between bodies, gazes, and gestures. Presented in a non-thematic manner to highlight serendipitous encounters, unexpected connections, and affi nities, this selection of over one hundred photographs brings together, without hierarchy, historic masters and contemporary fi gures. Each spread becomes a gallery wall: the anxious gaze of Russian poet Vladimir Mayakovsky, photographed by Alexander Rodchenko, confronts giant hands captured by August Sander; a portrait of a woman by André Kertész faces a sculptural nude by Imogen Cunningham, while Frida Kahlo’s fragile, boot-clad prosthesis, abandoned at the bottom of an unlikely bathtub, contrasts with a powerful, tattooed male back, both captured by Graciela Iturbide. These juxtapositions, at times “surreal,” awaken our gaze and challenge our perceptions. This visual journey is punctuated by short texts and photographers’ quotes, which accompany a sensory experience unfolding like a musical score.