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168 C A R M E L M A G A Z I N E • H O L I D A Y 2 0 1 5 lent work, Weston eventually amassed an impressive collection of 19th, 20th and 21st Century photographers, including a prominent Adams and Edward Weston collection. She expanded the gallery into the space next door. "In the 1970s, photography was not really considered an art form," she says. "Photograph- ers like Imogen Cunningham were very happy to give me things on consignment at the time." W eston Gallery Director Richard Gadd, for- mer executive director of the Monterey Museum of Art (MMA), notes how unusual it is for a photography gallery to remain in business and in the same location for 40 years. "For photography in general, the turnover is pretty drastic," he says. "The early '70s was the perfect time for [Maggi] to open the gallery. Major art galleries in New York and museums started respecting photography. It had been the stepchild of painting and printmaking, but in the "Winston Churchill," Yousuf Karsh. "Nude (Charis)," Edward Weston. "Clearing Winter Storm," Ansel Adams.