Andre Kertesz in Europe, James Hyman Gallery, London

Hungarian photographer Kertesz's double emigration - to Paris in the 1920s, then New York in 1936 - followed the standard trajectory of eastern European Jewish artists who brought a Modernist sensibility to mid-century America. Although he never really mastered English - "I write with light" - he achieved recognition and moved into a 12th-floor apartment on Fifth Avenue, from where he shot his most famous series: the enraptured, meditative, sumptuously formal pattern of silhouetted leafless trees against snow in Washington Square Park. "Each time Andre Kertesz's shutter clicks, I hear his heart beating," said Henri Cartier-Bresson.

So it is with Kertesz's precisely constructed, sharply delineated, whimsical European compositions here, ranging from experiments with an ICA box camera in the 1910s - he photographed gypsies and peasants, already recording a way of life verging on obsolescence - to idiosyncratic shots of art and artists on visits to Britain in the 1980s. Some, such as a 1926 profile portrait of Mondrian in Paris, are well-known, but many later works are displayed for the first time. They reveal how Kertesz kept his own modernist, geometric vision - "The Royal Albert Hall", with the building's opulent curves offset by straight lines of park benches; "Jacob Epstein's 'Genesis' at the Whitworth Art Gallery", where the bulbous fertility sculpture contrasts with the museum's stark vertical columns - in face of changing fashions. Most moving are old-age portraits, built up through objects and interiors, caught between celebration and melancholy: "Henry Moore's Shadow", "Henry Moore's Studio with Elephant Skull and Seated Figure". The last piece commemorates Kertesz's visit, aged 90, to his native land: under thunderous skies, "Hortobagy Country, Hungary (Man on a Bicycle)" features a lone rider on a rain-glistening road, disappearing into infinity.

jameshymangallery.com, 020 7494 3857, from Wednesday to June 13

Photograph: James Hyman Gallery

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