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As she writes: \u003c\/span\u003e\u003cq\u003eReal memory, which these pictures trigger, is an invocation of the color, smell, sound and physical presence, the density and flavor of life.\u003c\/q\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThrough an accurate and detailed record of Goldin’\u003cspan\u003es life, \u003c\/span\u003e\u003ci\u003eThe Ballad of Sexual Dependency\u003c\/i\u003e\u003cspan\u003e records a personal odyssey as well as a more universal understanding of the different languages men and women speak. 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Contributors—from artist and writer friends such as Karen Finley, Nan Goldin, Kiki Smith, Vince Aletti, C. Carr and Lucy R. Lippard, to David Cole, the lawyer who represented him in his case against Donald Wildmon and the American Family Association—together offer a compelling, provocative understanding of the artist and his work. \u003ci\u003eBrush Fires\u003c\/i\u003e is also the only book that features the breadth of Wojnarowicz’s work with photography. Now, on the twentieth anniversary of \u003ci\u003eBrush Fires\u003c\/i\u003e, when interest in the artist’s work has increased exponentially, this expanded and redesigned edition of this seminal publication puts the work in front of an audience all over again while maintaining the integrity of the original. 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In the essay that accompanies his photographs, Richard Renaldi describes his experiences as a young man in the late 1980s who had recently embraced his gay identity, and of finding a home in \u003cq\u003ethe mystery and abandonment of the club, the nightscape, and then finally daybreak,\u003c\/q\u003e each offering a \u003cq\u003etransformation of Manhattan from the known world into a dreamscape of characters acting out their fantasies on a grand stage.\u003c\/q\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eDrawing heavily on his personal subcultural pathways, Renaldi captures that ethereal moment when Saturday night bleeds into Sunday morning across the borough of Manhattan. 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