The exhibition “Urbes Mutantes: Latin American Photography 1944-2013,” now on view through September 7, 2014, at the International Center of Photography in New York City, features more than 200 images by photographers from Argentina, Brazil, Chile, Colombia, Cuba, Mexico, Peru and Venezuela, including Horacio Coppola, Paolo Gasparini, Yolanda Andrade and Alberto Korda. But rather than offer a sprawling survey, the exhibition, first shown last year at Bogota’s Museo de Arte del Banco de República, focuses primarily on how artists have responded to urban life in Latin America, whether through street photography, architectural images or conceptual work. Mining the archive of collectors Leticia and Stanislas Poniatowski, curators Alexis Fabry and Maria Willis chose mostly images that reflect the political upheavals of the 1950s through the 1990s. The curators loosely organized the show into four themes: the street as a platform for protest, the formation of urban identities, popular street culture and the public face of poverty. “Urbes Mutantes” is accompanied by the first U.S. exhibition of Brazilian photographer Caio Reisewitz, who creates lushly detailed, large-format images of architecture, interiors and landscapes, as well as smaller collages exploring how the building boom in his native São Paulo contrasts with its traditional architecture and impinges on the once-untouched forests of Brazil. In the juxtaposition of images in the show, the greenery becomes a haunting presence just beyond the walls of modern buildings.