Takis is no exception. His sculptures necessitate a venue with high ceilings, and some level of separation as many of them flicker, vibrate, or spin. One sculpture consisting of two lime green and black half-spheres and an iron pole, Aeolian (1983), requires wind energy to operate, and thus can only be displayed outdoors. When exhibited together, these sculptures resemble parts of an eccentric assembly line, leaving viewers agape at their inventive mechanics. Takis uses a wide range of materials, as wires, poles, electric circuits, and electromagnets abound alongside lamps and found objects.

Hujar’s portraits reveal how closely linked the creative networks of NYC’s downtown scene were at the time. Backstage offers a glimpse of Hujar’s personal and professional relationships with prominent figures of the subculture. The main gallery features the portrait images of two queer icons, Divine and John Waters, more or less striking the same pose. Both of them lie down sideways, with their left arms supporting their heads. Divine is, of course, John Water’s number one actor, as the two have collaborated in numerous films including Pink Flamingos (1979) and Hairspray (1988). By replicating the same pose, the two friends diverge from the asymmetric power dynamics of director-muse relationships.