In 2015, photographer Peter Hujar experienced a mainstream resurgence when his work appeared on the cover of Hanya Yanagihara's novel *A Little Life*, in a campaign for menswear designer Patrik Ervell, and at Christie's, where his 1973 photograph *Candy Darling on Her Deathbed* sold for $50,000. Now, two new publications—*Stay Away From Nothing* and *The Wonderful World That Almost Was*—focus on Hujar's complex relationship with sculptor Paul Thek, who died nine months after Hujar from AIDS complications. Author Andrew Durbin, who wrote *The Wonderful World That Almost Was* and curated the group show "How Beautiful This Living Thing Is" at New York's Ortuzar gallery, discusses their elusive bond, rivalry, and the queer social dynamics that shaped their lives and art.
This article matters because it sheds light on two pivotal yet underrecognized figures of the downtown New York art scene, exploring how their intertwined personal and creative lives influenced their work and legacy. By examining their fluid relationship and competitive dynamic, the piece contributes to a deeper understanding of queer art history and the ways marginalized communities navigate intimacy, rivalry, and artistic production. The upcoming exhibition and publications also signal a continued reassessment of Hujar and Thek's contributions to contemporary art.