Adam Pape’s Dyckman Haze, published by MACK in 2018, is set in the parks of Washington Heights and Inwood, at Manhattan’s northern edge. These are places where the city’s grid loosens and a different order becomes visible. The parks offer both alienation and intoxication: a refuge for citizens and nature, and a second city away from the street. Pape’s photographs hold that contradiction rather than resolve it.

Working in monochrome and with artificial light, Pape directs scenes rather than collecting them. The narrative moves between day and night. In the dark, the parks become a public stage where young people try on roles; elsewhere, people wander, fish, smoke, and pass time while animals appear at the urban fringe, carrying nature’s promises and perils. The result is not a portrait of a neighborhood in the usual documentary sense but an exchange among humans, animals, and landscape.

The location matters. Washington Heights and Inwood occupy the furthest reach of Manhattan, sectioned off from further development, and Pape treats that edge as a place where history and myth are still active. The parks function like a church or temple—transformative, set apart—and the book’s title gives that atmosphere a name.

This is a 96-page paperback, OTA-bound with flaps, 21 x 26 cm. The compact sequence and flexible binding suit a project built from night and half-light. For a collector, the appeal is not rarity or scale but the coherence of Pape’s staged approach and MACK’s framing of it: a book that treats the park as a stage for role-play, encounter, and uneasy nature, and that keeps those elements in tension from first page to last.