Nicholas: In his "Rimbaud in New York" project, David Wojnarowicz very earnestly linked the anomie felt by bohemians in mid-nineteenth-century France to a disenfranchised population of artists and homosexuals in 1970s New York. But he had to use a healthy dose of affectation to do so, and ironically helped to frame the dialogue of identity art, a style that usually tries to prove that affectation does not exist: just... um, people...