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We see New York, and sometimes, as Henry James asked us to, we “do it”—explore and conquer it—but what we see when we see it is so far unlike what we experience when we’re doing it that the difference itself can become a subject for art. The city sneaks up on us in pictures, and we are startled to see what it looks like even when what it looks like is just us, doing what we really do. We respond to truthful depictions of New York with the same surprise that we feel when we hear a recording of our own voice.我们观看纽约，但有时我们也如亨利-詹姆斯要求我们做的那样，参与其中，探索纽约，征服纽约。不过我们观看纽约看到的和参与纽约生活所体验的却是不相同的，结果这种差异的本身就可能成为艺术的主题。在照片中这个城市冷不防地出现在面前，我们惊奇地看到了城市的样貌，尽管看到的就是我们自己，做着每日做的事情。我们见到纽约的真实写照感到惊异，就像听到一段自己的录音感到惊异一样。This surprise is one of the subjects of the extraordinary, lost—or, actually, never found in the first place—American photographer Jerry Shore. Shore did New York, was done by it, and then became a kind of artist-martyr to the act of seeing it. In the last decade of his life, Shore, after twenty years as one of the leading short-form commercial directors of his time, fell down a well of alcohol and isolation. He died in 1994, at the age of fifty-nine, and left behind four thousand photographic prints, most of New York City streets, in Queens and Manhattan, in Turtle Bay and Chelsea and the old meatpacking district. Only one of them had ever been sold. The collector Daniel Wolf bought all of Shore’s work, in 1995, and has archived it, so that, for the first time, it is possible to see the range and intensity of what he accomplished, and discover an original New York这种惊异就是杰出的、被遗忘的（或者说实际上根本就没有被发现的）美国摄影家杰瑞-肖尔作品的一个主题。肖尔参与纽约生活，被纽约所征服，然后为了艺术，可以说在观看和呈现纽约的过程中英勇献身。在生命的最后十年，在身为那个时代商业广告短片的主要导演20年之后，肖尔淹没在酒精中，生活在孤独里。他于1994年去世，时年59岁，身后留下了四千多张照片，多数是有关纽约街道的。这些照片摄于昆斯、曼哈顿、海龟湾、切尔西和旧的肉类加工区，七种只有一张被出售。1995年，收藏家丹尼尔-伍尔夫买下了肖尔的所有作品，并将照片归档，结果人们首次可以看到他摄影成就的广度和深度，发现了一双观看纽约的独到慧眼。Jerry Shore’s story is simple, in many ways typical, and in most ways sad. He grew up in Oxford Circle, a lower-middle-class Jewish neighborh