Weegee’s career appears bifurcated, marked by a duality that encompasses both sensational and celebratory photography. The former comprises his provocative images, widely circulated in North American tabloids from 1935 to 1945, capturing scenes of gangster corpses, mangled bodies in accidents, ominous kingpins in prison wagons, and dilapidated slums ravaged by fire—a stark documentation of the underprivileged in New York. In contrast, the latter showcases festive moments—glamorous parties, entertaining performances, exuberant crowds, and premieres. Added to this mix are distorted portraits of public figures, created using a range of techniques between 1948 and 1951, persisting until the end of his life. The apparent dichotomy between these two phases has fueled critical discussions, with praise for the former and criticism for the latter. “Autopsy of the Spectacle”, the exhibition, aims to bridge this gap by demonstrating that, beyond formal disparities, Weegee’s approach remains critically coherent. The omnipresence of the spectacle is a unifying theme in Weegee’s work. In his early career, coinciding with the tabloid press rise, he actively contributed to turning news into spectacle. He often incorporated spectators or fellow photographers in the foreground, emphasizing this transformation. In the latter part of his career, Weegee satirized Hollywood spectacle, mocking its fleeting glory, adoring crowds, and social scenes. His photography, predating the Situationist International, presented a sharp critique of the Society of the Spectacle. “Autopsy of the Spectacle”, with a fresh perspective on Weegee’s body of work, juxtaposes his iconic images with lesser-known works, including those never exhibited in France. Clément Chéroux, the exhibition curator and Director of Fondation Henri Cartier-Bresson, guides the exploration of Weegee’s critical coherence. “The curious […], they’re always in a hurry […], but they still find the time to stop and look,” says Weegee. “Weegee is not the first nor the only person to have taken interest in people watching,” notes Chéroux. He highlights Weegee’s systematic approach in making spectators aware of their voyeuristic position, critiquing how American society transforms news into spectacle. The exhibition is complemented by a catalog in French published by Éditions Textuel.