Six years after the attacks of September 11, 2001, the National September 11 Memorial & Museum is finally under construction in Lower Manhattan. But until its galleries actually exist, the New-York Historical Society is stepping in to memorialize the attacks by exhibiting the images and artifacts of that day.

The exhibition, titled “Here is New York: Remembering 9/11/01,” opens next Tuesday and runs through December 31. It includes 1,300 photographs from the “here is new york” collection — originally, an exhibition of digital photographs that arose spontaneously in a SoHo storefront in the weeks after the attacks — as well as video oral histories and physical artifacts, including a fragment of one of the planes’ landing gear, an I beam from one of the World Trade Center towers, and two doors from a fire truck belonging to New York Fire Department Rescue Company 2, seven of whose men died in the collapse of the North Tower.

The New-York Historical Society was among the first institutions to start collecting artifacts of the event in the days and weeks afterward, and it has mounted an exhibition on every anniversary since 2002.

“I had anticipated that at this point there would be another venue at ground zero,” the Historical Society’s president, Louise Mirrer, said, referring to the Memorial & Museum. But “given that it’s six years and there was no other venue, we thought we had an obligation to do a more significant exhibition.”

A board member, Bernard Schwartz, provided the major funding for the exhibition, an amount Ms. Mirrer characterized as “hundreds of thousands of dollars.”

“I think it should be done on a regular basis,” Mr. Schwartz said of exhibiting the photographs and artifacts. “There’s so much emotion packed into this on the part of the citizens: There’s fear, there’s anger, there’s respect for the people we lost.” The Historical Society, he said, “is the very logical custodian for this kind of exhibit, because it has the respect of the people of New York City, and it is professional in the way it looks at history.”

The “here is new york” collection, including the photographs and the oral histories, was donated to the Historical Society in 2004. The collection was assembled in the days and months after the attack by four friends: two photographers, Gilles Peress and Charles Traub, a curator, Alice George, and a writer, Michael Shulan, who is now the creative director of the National September 11 Memorial & Museum. Mr. Shulan co-owns a building on Prince Street between Wooster and Greene, the first floor of which was vacant at the time of the attacks.

“We had this idea to mount a small, temporary exhibition in the immediate aftermath of 9/11 and to digitize and sell prints in order to make a token contribution to the victims,” Mr. Shulan said. The initial call for photographs went out on the Internet, by word of mouth, and through the photography editors of newspaper and magazines, and people streamed to the Prince Street building to offer their photographs.

“We took at least one picture from everyone who came,” Mr. Shulan said. Eventually the collection grew to 6,200 photographs by close to 3,000 photographers, from “the world’s leading professionals [to] schoolchildren,” Mr. Shulan said. The exhibition went up in Soho on September 25, 2001, and didn’t come down for a year. Later, it traveled around the country and the world; it was also published as a book, “Here Is New York: A Democracy of Photographs.”

The photographs were printed digitally, so that they would all look roughly the same and could be sold for the modest price of $25. Mr. Shulan said the group sold around 60,000 photographs and raised almost $1 million, which they donated to the Children’s Aid Society. On Prince Street, the photographs were displayed simply, without captions or frames, as they will be at the Historical Society.

Because digital printing was in its early stages in 2001, the original prints are not of super-archival quality, the Historical Society’s vice president and museum director, Linda Ferber, said. In order to preserve them, they are kept in archival boxes and folders in a climate-controlled area. The Society made a second set of prints for the exhibition, using the same outmoded technology in order to reproduce the appearance of the originals.

Ms. Ferber said that she is in discussions with the staff of the National September 11 Memorial & Museum about how the institutions will ultimately collaborate. “They will become the primary venue for the display and interpretation of the artifacts and documents,” she said, but “we expect to maintain a significant position as a holder of September 11th material, [and] we’ll both be sites where people doing research will come to.”