Peter Hujar, Canal Street Piers: Fake Men on the Stairs, 1983. Gelatin silver print, sheet: 14 × 11 in. (35.6 × 27.9 cm) Image: 8 1/8 × 8 in. (20.6 × 20.3 cm). Whitney Museum of American Art, New York; gift of the Peter Hujar Archive 2017.265. © The Peter Hujar Archive / Artists Rights Society (ARS), New York
Not on view
Date
1983
Classification
Photographs
Medium
Gelatin silver print
Dimensions
Sheet: 14 × 11 in. (35.6 × 27.9 cm)
Image: 8 1/8 × 8 in. (20.6 × 20.3 cm)
Accession number
2017.265
Credit line
Gift of the Peter Hujar Archive
Rights and reproductions
© The Peter Hujar Archive / Artists Rights Society (ARS), New York
Exhibitions
Installation photography
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Installation view of Shifting Landscapes (Whitney Museum of American Art, New York, November 1, 2024-January 25, 2026). From left to right: Yuji Agematsu, Zip; 07-01-12 - 07-31-12, 2012; Martin Wong, Big Heat, 1986; Peter Hujar, Columbia Service Station, 1976; Peter Hujar, Canal Street Piers: Fake Men on the Stairs, 1983. Photograph by Ron Amstutz
From the exhibition Shifting Landscapes
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Installation view of Around Day’s End: Downtown New York, 1970–1986 (Whitney Museum of American Art, New York, September 3–November 1, 2020). From left to right: Peter Hujar, Canal Street Piers: Fake Men on the Stairs, 1983; David Wojnarowicz, Arthur Rimbaud in New York, 1978 (printed 1990); Alvin Baltrop, The Piers (collapsed architecture, couple buttfucking), 1979 (print date unknown); Alvin Baltrop, Marsha P. Johnson, n.d. (1975–86, print date unknown); Alvin Baltrop, Untitled, 1978 (print date unknown). Photograph by Ron Amstutz
From the exhibition Around Day’s End: Downtown New York, 1970–1986
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Installation view of Around Day’s End: Downtown New York, 1970–1986 (Whitney Museum of American Art, New York, September 3–November 1, 2020). From left to right: David Hammons, Delta Spirit, 1985; Vitrine, clockwise: Avalanche, Fall 1971; Carol Goodden, Documentation of Gordon Matta-Clark’s Jacks, 1971; Carol Goodden, Documentation of Gordon Matta-Clark’s Jacks, 1971; Carol Goodden, Documentation of Gordon Matta-Clark’s Jacks, 1971; Carol Goodden, Documentation of Gordon Matta-Clark’s Jacks, 1971; Carol Goodden, Documentation of Gordon Matta-Clark’s Jacks, 1971; Peter Hujar, Canal Street Piers: Fake Men on the Stairs, 1983; David Wojnarowicz, Arthur Rimbaud in New York, 1978 (printed 1990); Alvin Baltrop, The Piers (collapsed architecture, couple buttfucking), 1979 (print date unknown); Alvin Baltrop, Marsha P. Johnson, n.d. (1975–86, print date unknown); Alvin Baltrop, Untitled, 1978 (print date unknown); Jimmy Wright, Anvil #1, 1975. Photograph by Ron Amstutz
From the exhibition Around Day’s End: Downtown New York, 1970–1986
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Installation view of Around Day’s End: Downtown New York, 1970–1986 (Whitney Museum of American Art, New York, September 3–November 1, 2020). From left to right: Jean-Michel Basquiat, Untitled (Plaid), 1982; Jean-Michel Basquiat, Untitled, 1982; Anton van Dalen, Street Woman on Car, 1977; Christo, Package on Hand Truck, 1973; David Hammons, Delta Spirit, 1985; Vitrine, clockwise: Avalanche, Fall 1971; Carol Goodden, Documentation of Gordon Matta-Clark’s Jacks, 1971; Carol Goodden, Documentation of Gordon Matta-Clark’s Jacks, 1971; Carol Goodden, Documentation of Gordon Matta-Clark’s Jacks, 1971; Carol Goodden, Documentation of Gordon Matta-Clark’s Jacks, 1971; Carol Goodden, Documentation of Gordon Matta-Clark’s Jacks, 1971; Peter Hujar, Canal Street Piers: Fake Men on the Stairs, 1983; David Wojnarowicz, Arthur Rimbaud in New York, 1978 (printed 1990). Photograph by Ron Amstutz
From the exhibition Around Day’s End: Downtown New York, 1970–1986