Lee Friedlander

FEB.18.2022          MAY.15.2022

New York City, 1963

Lee Friedlander
New York City, 1963
© Lee Friedlander, courtesy Fraenkel Gallery, San Francisco and Luhring Augustine, New York



FEB.18.2022        MAY.15.2022


KBr Photography Center
Avenida Litoral, 30 – 08005 Barcelona

Tel: +34 93 272 31 80


Opening times:
Until March 30:
Mondays (except holidays): Closed.
Tuesday to Sundays (and holidays): 11 am – 7 pm

From April 1:
Mondays (except holidays): Closed.
Tuesday to Sundays (and holidays): 11 am – 8 pm

December 25th, January 1st and 6th

Limited opening hours:
December 24th and 31th, January 5th: 11 am – 3 pm

*The evacuation of the hall starts 10 minutes before closing time. Last access (6:30 pm – 7:30 pm) only allows a 20 minutes tour to the exhibitions.

How to arrive

Buses: 59, 136, V21, V27, H16, 47, V23

Subway: Line 4 and Line 1

Bicycle racks: 396; 397


Available online in Spanish, Catalan and English. Accessible via mobile without downloads or installations.

Also available in audio device obtainable in the hall (if available).

Price: €4


Ramp for wheelchair access – The three floors of the hall are accessed by a generously-sized elevator.


Locker Service.


KBr Bookstore by Juan Naranjo.

librería@juannaranjo.eu / Telf. (+34) 933 568 021

Over his career, Lee Friedlander has accomplished a far-reaching artistic output, recording what he himself called, in the 1960s, the “American social landscape”. The exhibition, which covers his entire body of work in chronological order, emphasizes some of his most significant projects such as The Little Screens, The American Monument, and America by Car, as well as a group of photographs taken in Spain during the 1960s, on display for the first time.

The Lee Friedlander exhibition has been produced by Fundación MAPFRE and curated by Carlos Gollonet, Chief Curator of Photography at Fundación MAPFRE.

Buy tickets

Lee Friedlander

Select an option


Online tickets sale will be available from February 1


Ticket PLUS

  • TICKET and AUDIO GUIDE for Lee Friedlander and Adolf Mas. The eyes of Barcelona. The audio guide is accessible online, from the Smartphone, without downloads or installations. An audio device can also be requested in the room (if available).
  • Price: GENERAL PLUS: €9. REDUCED PLUS: €7. Tuesdays (except holidays): €4.
  • Does not include headphones. You can add them (€1) during the online purchase or at the ticket office. For sustainability reasons we recommend you to bring your own headphones.


  • Access to Lee Friedlander and Adolf Mas. The eyes of Barcelona.
  • General admission: €5. Reduced ticket beneficiaries: €3.
  • Free Access (€0): Tuesdays (except holidays).

The beneficiaries of free admission must obtain their ticket at the ticket office in the room.

Commented Tour

  • An approach to the exhibition keys from the hand of our cultural mediators.
  • No additional cost upon ticket. Information at reception desk.
  • Hours: Wednesdays and Thursdays: 4-7 pm | Fridays and Saturdays: 12-2 pm and 4-7 pm. | Sundays and Hollidays: 12-2 pm.

MAPFRE Clients

  • MAPFRE offers to its policyholders 2 free tickets (4 if Platinum Client) to visit Lee Friedlander and Adolf Mas. The eyes of Barcelona, on the date they choose.
  • To obtain courtesy tickets of MAPFRE, access the online ticket office and follow the purchase process. Before payment, the program will request your ID and will automatically activate the free tickets that correspond to you.
  • You can also get them at the ticket office in the room, presenting your ID.
  • Invitations must be used in a single visit.
  • Any question you have, please check these simple Instructions.

Collaborating Entities

  • If you belong to any of the entities that collaborate with Fundación MAPFRE, you must obtain your reduced ticket (€1 or €3) at the ticket office in the room.


  • If you have already purchased a individual ticket and want to add the audio guide, you can purchase it here. Price: 4 €
  • The audio guide is accessible online, from your Smartphone, without downloads or installations. An audio device can also be requested in the room (if available).
  • Does not incluye headphones. You can add them (€1) during the online purchase or at the ticket office. For sustainability reasons we recommend you to bring your own headphones.


  • It's mandatory for the group to have a guide or person in charge. To request a guide from the Foundation, ask please for information and rates to: infokbr@fundacionmapfre.org
  • The group must be made up of a minimum of 6 people. Currently, and due to health prevention measures, the maximum number of members (guide included) is 15 pax.
  • Tuesdays: 11 am - 11:30 am - 12 pm.
  • The formalization of the reservation implies the acceptance of these Rules for external groups.



Educational activities for schools are developed entirely in Spanish or Catalan. If you are interested please consult sections Colegios y Familias (spanish) or Col·legis i Families (catalan).


Educational activities for families are developed entirely in Spanish or Catalan. If you are interested please consult sections Colegios y Familias (spanish) or Col·legis i Families (catalan).


  • All tickets allow access to all two exhibitions.
  • Tickets changes or returns are not allowed except for justified force majeure.
  • Due to conservation needs, the rooms maintain a constant temperature of 21º, so it is possible that during the visit it is convenient to bring some light warm clothing.
  • Fundación MAPFRE is not responsible for the rates, schedules and other information applied on the websites of other entities where tickets for their exhibitions can be purchased.

Lee Friedlander has been a photographer almost since he was a teenager and throughout his long career he has produced a wide range of work. In the sixties, after settling in New York and despite still being in an apprenticeship period, he became a mature artist.

As had happened with the Dadaists and at the same time as pop art, the photographer broke away from traditional means of representation and looked to popular culture for inspiration. To do this, he incorporated the mundane into his repertoire, creating confusing visual arguments and shaking the viewer with a sense of irony derived from juxtapositions of seemingly unconnected objects and ideas, in contrast with the seriousness of previous documentary photographers.

The exhibition has been organized chronologically, starting from the beginning of his career to his latest images, taken just a few years ago, featuring around 300 photographs of urban scenes, landscapes, portraits, self-portraits or natural forms. It also includes a selection of books of his most significant projects.

Download the exhibition brochure (1 MB)

Download the exhibition texts (3 MB)

New Documents: In 1967 the New Documents exhibition was organized at the MoMA in New York, showcasing the work of Garry Winogrand, Diane Arbus and Lee Friedlander. It was from that moment that the latter’s career gained definitive momentum. In addition to showing the influence that Walker Evans and Robert Frank had exerted on the three artists, the exhibition revealed a new way of understanding photography that was much more approachable and highlighted the differences between this new generation of documentary artists and those who had preceded them. In the introductory text to the exhibition, its curator John Szarkowski wrote: “Most of those who were called documentary photographers a generation ago when the label was new made their pictures in the service of a social cause. It was their aim to show what was wrong with the worlds and to persuade their fellows to take action and make it right. In the past decade a new generation of photographers has directed the documentary approach toward more personal ends. Their aim has been not to reform life but to know it.”

American social landscape: To get to know that life and the environment around them, both Friedlander and Winogrand, following in the footsteps of Walker Evans and Robert Frank, decided to photograph the “American social landscape” through frequent road trips, in the purest On the Road style of Jack Kerouac. Over the course of six decades, Friedlander has portrayed everything that passed in front of his camera that could be of interest, recording the American landscape and society and translating mental images with his photography. This approach has allowed the artist to reflect on the world in order to understand it and thus encourage viewers to reflect with him.

The American Monument: In 1976, Friedlander published one of the projects for which he is most famous, The American Monument, with more than two hundred photographs taken, mainly between 1971 and 1975, of various monuments in different American cities. These images are linked to the tradition of documentary photography like no other of his series. An idea that started with Eugène Atget and his anonymous inventory project of the urban decay of Paris and that continued with Walker Evans, pioneer of that elaborate documentary vision, which turned documentary into a more lyrical and poetic image. In Friedlander, Evans’ idea is combined with Robert Frank’s more critical gaze, but “animated” by a more ironic air. What Friedlander produces are not documents, but photographs. The artist dignifies the monuments with these apparently simple images, but composes them like any other element: trees, water, leaves, landscape, are all presented with the same naturalness. In some of these photographs, the protagonist of the composition even appears half-hidden, in a subversion of the rules of the medium that is, as noted above, a constant in his work.

The Hasselblad camera: At the end of the 1990s, Friedlander decides to change his 35mm camera for a medium format one, a Hasselblad Supervise, with a 38mm Biogon lens and 6×6 film. Thanks to its square format and this lens developed by Zeiss, distortion is practically non-existent and the image is sharp and defined even in the corners, where light loss is also considerably reduced. Everything is there in front of us, with the same density and presence.

He made the decision to change cameras when trying to photograph the Sonoran desert and its vast landscapes; from then on, those photographs from the 1960s, with their abundant reflections and juxtaposed motifs, gave way, in the 2000s, to apparently more orderly images.

If you would like to contact the Communication Department to request the press dossier, high-resolution images or for any other matter, please complete the form below, giving the name of the medium/media for which you require this information.

The catalog for the exhibition includes copies of all the works on display, as well as a feature essay by the curator of the project, Carlos Gollonet, Chief Curator of Photography at Fundación MAPFRE, and a text by Nicholas Nixon, one of the most renowned photographers on the international scene today. There is also a conversation between Maria Friedlander and Jeffrey Fraenkel, a gallery owner who collaborated with the photographer for many years.

The catalog is available in Spanish, Catalan and English, the latter co-published by Fundación MAPFRE and RM.

Buy this publication

You may also like

Adolf Mas