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| Evelyn Hofer Broadway at Times Square 1964 gelatin silver print Nelson-Atkins Museum of Art, Kansas City, Missouri |
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| Evelyn Hofer Greenwich Villagers, New York 1964 dye transfer print Nelson-Atkins Museum of Art, Kansas City, Missouri |
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| Evelyn Hofer Coney Island Shooting Gallery 1965 dye transfer print Nelson-Atkins Museum of Art, Kansas City, Missouri |
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| Evelyn Hofer Haughwout Building, New York 1965 gelatin silver print Nelson-Atkins Museum of Art, Kansas City, Missouri |
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| Danny Lyon Corky at Home ca. 1965 gelatin silver print Minneapolis Institute of Art |
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| Danny Lyon Benny at the Spotlight, Cicero, Illinois 1965 gelatin silver print Minneapolis Institute of Art |
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| Jacques Lowe Louisa Jenkins (mosaicist) 1965 gelatin silver print Minneapolis Institute of Art |
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| Elliott Erwitt Venice, Italy 1965 gelatin silver print Nelson-Atkins Museum of Art, Kansas City, Missouri |
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| Gisèle Freund Simone de Beauvoir ca. 1965 gelatin silver print Princeton University Art Museum |
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| George W. Gardner Bloom County, Missouri ca. 1965 gelatin silver print Art Institute of Chicago |
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| Duane Michals Nude Painting, Interior, Magritte Home 1965 gelatin silver print Los Angeles County Museum of Art |
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| Raymond Moore Alderney 1965 gelatin silver print Victoria & Albert Museum, London |
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| Marc Riboud Liu Li Chang, Beijing 1965 gelatin silver print Princeton University Art Museum |
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| Marc Riboud Camel Market, India 1965 gelatin silver print Cleveland Museum of Art, Ohio |
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| George A. Tice Tombstone of Catherine Holland 1965 gelatin silver print Chrysler Museum of Art, Norfolk Virginia |
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| John French Patti Boyd and Celia Hammon in Capsule Helmets designed by Edward Mann 1965 gelatin silver print Victoria & Albert Museum, London |
from Burning Trash
At night – the light turned off, the filament
Unburdened of its atom-eating charge,
His wife asleep, her breathing dipping low
To touch a swampy source – he thought of death.
Her father's hilltop home allowed him time
To sense the nothing standing like a sheet
Of speckless glass behind his human future.
He had two comforts he could see, just two.
– John Updike (1992)
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| Ralph Eugene Meatyard Untitled 1965 gelatin silver print Yale University Art Gallery |