Raymond Depardon is in some ways the Don McMullin of French photography having covered assignments in South East Asia and most other trouble spots in the world at one point or another. What is however really distinctive about his work is his ideological involvement and the fact that he has always been close to the cinema and often engaged in discussions with Cahiers and other periodicals. Last year his film Les Annees des Cites, an autobiographical film about his career, proved that his sense of cinematic form was every bit as intriguing as his photographs. This year N.Y.,N.Y. explores, in a slightly more abstract way, his and our fascination with a large concept of a city.