Alfred Stieglitz and Georgia O'Keeffe were a powerhouse art team. One of their very first conversations occurs because Georgia has left some work with a friend in New York (Anita Pollitzer). Pollitzer knows these works are something special and shows them to Alfred Stieglitz . Stieglitz is completely entranced. He contacts Georgia and they begin writing letters. Stieglitz mentions that he would like to show them in his gallery. This is no little thing. Alfred Stieglitz's little gallery 291 has already shown significant works of art by avant garde artists world wide( like Cezanne, Matisse, Picasso). 291 and Stieglitz are dedicated to showing America the modern face of art. He also has a reputation for recognizing true artistic talent. His personal passion is photography but his skills as a promoter and publicist of sorts will rocket Georgia O'Keeffe to the attention of many an art lover.

In his last show of the season Stieglitz includes the drawings that made him first take notice of Georgia O'Keefe. He includes these pieces without her permission. Georgia is back in New York and hears about a show by 'Virgina O'Keefe' she is certain this is her work. She is very upset about not being informed and goes to confront Stieglitz. But by that time it was too late people had already started to take notice of Georgia O'Keeffe. Not to mention Stieglitz had given her a taste of what his publicity work could do.

Georgia actually moves to New York in 1917 and by 1918 she and Stieglitz are living together. Stieglitz is obsessed by his new friend. Stieglitz had a history of photographing his lovers but in the case of Georgia O'Keeffe he took a staggering number of photographs. He talked about his goal for wanting to capture the true face of Georgia. This required a lot of film.

He took his first photos of her in the spring of 1917 and the last in 1937. 'Stieglitz made her the most photographed woman of the 20th century, after Gretta Garbo'. 1 During their lives together Stieglitz would make nearly 500 prints, 200 alone date from their first two years together.

'The photographs of O'Keeffe taken in those first twenty four months document the most intense, passionate, and complex transaction ever recorded between a man and woman ever recorded by a camera. Stieglitz's portrait embraces the most public and private extremes of O'Keeffe's being: icons of a remote, enigmatic woman that merged with her paintings to create her identity as artist together with sexual explorations of her body so intimate they have yet to be published'.1