in 1995, moore returned to his roots in documentary practice as the texture of new york’s 42nd street was rapidly changing. with all of the theaters between 7th and 8th avenues scheduled to be razed or refurbished, moore sought permission to photograph the torn seats and faded fire curtains which told the stories of those spaces. in 1997, moore showed these photographs at yancey richardson gallery in new york. despite his change of style, the work was well received; in a review for "the new yorker", andrew long noted, “the straight forward treatment is a departure for the photographer, who characteristically produces multi-image evocations of new york city. nothing is lost however— his earlier poetic constructs now give way to broader arenas for the imagination to roam.”