Finally, it seems pertinent to anoint an American photographer above others, not from a jingoistic impulse or to fulfill any supposed mandate from our publication title, but because, quite frankly, the genre is weaved into our very culture as one of the earliest modern open societies. Many, though not all, significant bodies of work in street photography—Frank, Winogrand, Levitt, Friedlander, Maier, Meyerowitz—were made in America because our culture has allowed it to cultivate and flourish. It would be foolish to discount the contributions of someone like Cartier-Bresson, but French culture is markedly different in that the nation has all but outlawed street photography for privacy concerns come this day and age. In contrast, over the last century, US courts have repeatedly ruled—in cases involving Philip-Lorca diCorcia, Arne Svenson, and others—that any reasonably expectation of privacy on the street, in the public sphere, may be violated not only for news gathering purposes, but for this very type of creative expression. Though it is controversial at times, street photography, as defined by the image above, has challenged us and brought new ideas into consciousness. If its point of conception, a century ago, is less than certain, what we can be sure of is the continued debate and excitement it will generate in the century to come.