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“When Color Was New,” a smart, compact show at the Julie Saul gallery, puts things in perspective. Its focus is work from the nineteen-seventies, when Jan Groover, Joel Sternfeld, Mitch Epstein, Joel Meyerowitz, and others were challenging the notion that color was vulgar and commercial. Pictures by Paul Outerbridge and Harry Callahan set historic precedents, while others, from the eighties, by Nan Goldin and Boyd Webb, suggest color’s subsequent and unstoppable surge to dominance. But the seventies were the turning point. If one photograph sums up the breakthrough, it’s William Eggleston’s worm’s-eye view of a rusty tricycle on a Memphis street—the icon of his 1976 MOMA show, which cracked the black-and-white photography establishment. But Eggleston’s trike has a context, and between Stephen Shore’s frozen dinner, Martin Parr’s fast-food counter, and Helen Levitt’s vivid gaggle of runway-ready street urchins, this show provides it.