Walker on a photo-acquiring mini-spree

Since late last year the Walker Art Center has acquired a bunch of photography. Instead of doing a 'normal' MAN acquisitions post, I'd try to give readers an idea of the breadth of the Walker's new pieces. The Walker's acquisitions included:

Andreas Gursky's (typically massive) 1999 picture Klitschko. Question: In museums throughout America's circa-1965 industrial heartland, Gilliams hang next to Frankenthalers hang next to Nolands. They all look a bit dated, like an end rather than a beginning. Will these big, fuzzy, oft-Photoshopped Gurskys look the same way?

Five Peter Hujar prints. The Walker's Hujars include Palermo Catacombs #10 and 1985's Ruined High Heels (Newark), which was included in Bob Nickas' 2005 PS1 retrospective.

Ana Mendieta, Bacayu, 1981. Walker director Olga Viso curated the recent Mendieta retrospective.

A picture from Shirin Neshat's Passage series, 2001. The Walker has collected Neshat in depth. This is the Walker's second photograph from Passage. It also owns a picture from Neshat's Rupture series and the film installation Soliloquy.

William Christenberry, The Alabama Box, 1980. This is a mixed-media piece that includes examples of Christenberry's pictures of Alabama, as well as objects and even Alabama soil.

Tetsumi Kudo, Monument of Metamorphosis, 1970. A major Kudo show was recently on view at the Walker.

Two Joann Verburg photographs: WTC (2003) and Knee Plays Group No. 2 (1984). The Minnesota native recently received the survey treatment from MoMA, a show that traveled to the Walker. According to Minnesota Public Radio, Verburg shot WTC [above] the week of 9/11 but didn't print it until two years later. There's a ton of Verburg on the Walker's mnartists.org (but I can't link to the whole of it).