Scenes of the American past slide past, projected onto the walls. A girl in a summer dress stands next to a polished shop window. Office workers in Mad Men-style skinny ties stroll through a city park. A woman in a patterned hair wrap perches at a lunch counter, the diner around her a delirious fantasy of pink. The colours – warm reds, rich ochres, delicious azure blues – make you want to stretch out in the sun. There’s a nostalgic clickety-clack of an old carousel projector coming from the next-door gallery. You half expect to hear Sinatra on the radio and catch the scent of frying hotdogs.

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What makes this time warp even more disconcerting is that the person responsible for these nostalgia-drenched images of the US in its post-war pomp is the photographer Garry Winogrand. Known for guerrilla-like, black-and-white frames of urban America in the 60s and 70s, Winogrand has a claim to be regarded as the godfather of street photography, a cross between the 1930s crime photographer Weegee (whose sense of ghoulish brutality he channelled) and Diane Arbus (whom he knew and exhibited alongside).