"Although not often acknowledged, Cartier-Bresson's time in Mexico was one of the most significant of his career, and the experience of living there left a deep impression on the photographer, who later confessed to feeling a sense of longing for the country. Whilst in Mexico Cartier-Bresson also spent time working with one of the nation's leading photographers, the aforementioned Manuel Álvarez Bravo, and together the two artists shared exhibition space at the Palacio de Bellas Artes in 1935. Consequently, and through the nature of their work, both artists have become known for their groundbreaking style and method in what is generically termed documentary photography. Loosely defined and often the subject of critical debate, documentary photography is concerned with exposing, informing and visually narrating the subject matter in focus. These subjects have traditionally taken the form of visual replicas of social depravity and or events of historic significance. However, as Abigail Solomon-Godeau argues, the art of photography is, in itself, a documentary process, since the act of shooting a scene via the exposed lens constitutes a type of documenting, and thus a visual reporting of the subject matter or event positioned before the camera. "
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