I had to reach out to a Boston museum, not long after they began exhibiting the video in protest of its removal in D.C., because
their wall text claimed Hujar was simply the artist's «close friend.»
Not exact matches
Such details undermine Soltis's
claim in the catalogue that Sully «allowed» his women to perform — as the
wall text notes, Ridgely would have been expected to master the harp at finishing school — and that «they were free to show up in unusual poses» that one could more readily read as suggesting a lack of freedom.
In that final room, the
wall text suggests that her eponymous foundation continues to advocate on behalf of her work, which they
claim remains under - recognized.
Activism and Camouflage denote works that are overtly political — like the Gran Fury collective's famous 1987 New Museum installation «Let the Record Show...» which is re-created in the exhibition with the same pink triangle and the words «Silence = Death» in neon — and on the opposite end of the spectrum, works in which artists «bury references to AIDS or sexuality so thoroughly that they often
claimed that their work had no personal or expressive meanings at all,» according to the
wall text.