and complex documentary, exemplified by his work in the 1950s, published in the United States in his 1959 book, The Americans. In the early 1960s, his influence on photographers like Garry Winogrand and Lee Friedlander resulted in an important exhibition at the Museum of Modern Art (MoMA), which brought those two photographers together with their colleague Diane Arbus under the title, New Documents. MoMA curator John Szarkowski proposed in that exhibition that a new generation, committed not to social change but to formal and iconographical investigation of the social experience of modernity, had replaced the older forms of social documentary photography. In the 1970s and 1980s, a spirited attack on traditional documentary was mounted by historians, critics, and photographers. One of the most notable was the photographer-critic Allan Sekula, whose ideas and the accompanying bodies of pictures he produced, influenced a generation of "new new documentary" photographers, whose work was philosophically more rigorous, often more stridently leftist in its politics. Sekula emerged as a champion of these photographers, in critical writing and editorial work. Notable among this generation are the photographers Fred Lonidier, whose 'Health and Safety Game" of 1976 became a model of post-documentary, and Martha Rosler, whose "The Bowery in Two Inadequate Descriptive Systems" of 1974-75 served as a milestone in the critique of classical humanistic documentary as the work of privileged elites imposing their visions and values on the dis-empowered. Since the late 1990s, an increased interest in documentary photography and its longer term perspective can be observed. Nicholas Nixon extensively documented issues surrounded by American life. South African documentary photographer Pieter Hugo engaged in documenting art traditions with a focus on African communities. Antonin Kratochvil photographed a wide variety of subjects, including Mongolia's street children for the Museum of Natural History. Fazal Sheikh sought to reflect the realities of the most underprivileged peoples of different third world countries. Documentary photography vs. photojournalism Documentary photography generally relates to longer term projects with a more complex story line, while photojournalism concerns more breaking news stories. The two approaches often overlap. Some theorists argue that photojournalism, with its close relationship to the news media, is influenced to a greater degree than documentary photography by the need to entertain audiences and market products. Acceptance by the art world The art worlds opinion of this type of photography changed markedly in 1967 during curator John Szarkowski's New Documents exhibition at Museum