to be considered déclassé in the aesthetics of postmodernism. America Walker Evans worked from 1938 to 1941 on a series in the New York City Subway in order to practice a pure 'record method' of photography; candid portraits of people who would unconsciously come 'into range before an impersonal fixed recording machine during a certain time period'. The recording machine was 'a hidden camera', a 35 mm Contax concealed beneath his coat, that was 'strapped to the chest and connected to a long wire strung down the right sleeve'. However, his work had little contemporary impact as due to Evans' sensitivities about the originality of his project and the privacy of his subjects, it was not published until 1966, in the book Many Are Called, with an introduction written by James Agee in 1940. The work was exhibited as Walker Evans Subway Photographs and Other Recent Acquisitions held at the National Gallery of Art, 1991–1992, accompanied by the catalogue Walker Evans: Subways and Streets. Helen Levitt, then a teacher of young children, associated with Evans in 1938–39. She documented the transitory chalk drawings that were part of children's street culture in New York at the time, as well as the children who made them. In July 1939, MoMA's new photography section included Levitt's work in its inaugural exhibition. In 1943, Nancy Newhall curated her first solo exhibition Helen Levitt: Photographs of Children there. The photographs were ultimately published in 1987 as In The Street: chalk drawings and messages, New York City 1938–1948. The beginnings of street photography in the United States can also be linked to those of jazz, both emerging as outspoken depictions of everyday life. This connection is visible in the work of the New York school of photography (not to be confused with the New York School). The New York school of photography was not a formal institution, but rather comprised groups of photographers in the mid-20th century based in New York City. Robert Frank's 1958 book, The Americans, was significant; raw and often out of focus, Frank's images questioned mainstream photography of the time, "challenged all the formal rules laid down by Henri Cartier-Bresson and Walker Evans" and "flew in the face of the wholesome pictorialism and heartfelt photojournalism of American magazines like LIFE and Time". Although the photo-essay format was formative in his early years in Switzerland, Frank rejected it: "I wanted to follow my