Exhibit Uncovers the 5,783 Contact Sheets Photographer Peter Hujar Left Behind

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A contact sheet of twelve black-and-white photos shows a woman with blonde hair lying in bed, surrounded by flowers, in various poses—sometimes resting, sometimes looking contemplative or directly at the camera.
Candy Darling in room 1423, Cabrini HealthCare Center, 1973 | The Morgan Library & Museum, Peter Hujar Collection, New York bought on the Charina Endowment Fund, 2013, Courtesy of Fraenkel Gallery, San Francisco and Ortuzar, New York; © The Peter Hujar Archive/ Artists Rights Society (ARS).

An upcoming exhibition will current hundreds of contact sheets and archival supplies to indicate how photographer Peter Hujar developed his work over a number of a long time.

Titled Hujar: Contact, the exhibition will probably be on view at at The Morgan Library & Museum from May 22 by October 25, 2026, and can discover the life, instances, and artistic evolution of Hujar. It will embody greater than 110 contact sheets and 20 enlargements drawn from the Morgan’s assortment of his work.

In 2013, the Morgan acquired the 5,783 black-and-white contact sheets Hujar had on the time of his demise, together with two notebooks, or “job books,” wherein he recorded photographic assignments and private tasks from 1954 to 1985. Together, these supplies type an in depth report of an artist who left no written reflection on his work however rigorously preserved proof of his photographic follow.

A black-and-white contact sheet shows twelve photos of a mustached man with long hair in bed, posing in different ways in a patterned room with framed pictures and floral bedding.
Vince Aletti and Fran Lebowitz, Morristown,New Jersey, 1974 | The Morgan Library & Museum, Peter Hujar Collection, New York bought on the Charina Endowment Fund, 2013, Courtesy of Fraenkel Gallery, San Francisco and Ortuzar, New York; © The Peter Hujar Archive/ Artists Rights Society (ARS).
A black-and-white contact sheet of twelve portraits featuring the same person posing in different angles. One photo is outlined, marked with "VOGUE" in red, and has arrows drawn pointing to it.
Jackie Curtis at 10 East twenty third Street, ca. 1970 | The Morgan Library & Museum, Peter Hujar Collection, bought on the CharinaEndowment Fund, 2013, 2013.108:8.1200.Courtesy of Fraenkel Gallery, San Francisco andOrtuzar, New York; © The Peter Hujar Archive/ Artists Rights Society (ARS).
A black-and-white contact sheet of twelve portrait photos featuring a man in various poses, both shirtless and clothed, in an indoor setting with arched windows and patterned floors.
Peter Hujar, (1934 – 1987) Self-portraits at 189 Second Avenue, 1974 | The Morgan Library & Museum, Peter Hujar Collection, New York bought on the Charina Endowment Fund, 2013, Courtesy of Fraenkel Gallery, San Francisco and Ortuzar, New York; © The Peter Hujar Archive/ Artists Rights Society (ARS).

The exhibition presents the contact sheet—historically a working software—as an object for shut research. Each sheet reproduces a full roll of movie, permitting viewers to comply with Hujar’s sequence of exposures. Many embody his handwritten notes and markings, which present how he approached cropping and printing and doc the selections behind remaining photographs.

“Contact sheets reveal an intimate history of Hujar’s habits, inspirations, and happy accidents—the intricacies hidden behind a final print,” says Joel Smith, curator of the exhibition and Richard L. Menschel Curator and Department Head of Photography on the Morgan. “Hujar: Contact illuminates the physical process that was central to his artistic practice.”

A black-and-white contact sheet with twelve photos showing people, mostly men, relaxing, talking, and riding bicycles outdoors on a boardwalk or rooftop. One man with a headscarf appears in several images.
Marsha P. Johnson on Christopher Street Pier,Easter, 1976 | The Morgan Library & Museum, Peter Hujar Collection, New York bought on the Charina Endowment Fund, 2013, Courtesy of Fraenkel Gallery, San Francisco and Ortuzar, New York; © The Peter Hujar Archive/ Artists Rights Society (ARS).
A black-and-white contact sheet with twelve photos of a person wearing a floral dress, fur coat, and hat, posing with expressive gestures, sometimes with another person in similar attire. The background is plain.
The Cockettes at 10 East twenty third Street, 1971, | The Morgan Library & Museum, Peter Hujar Collection, New York bought on the Charina Endowment Fund, 2013, Courtesy of Fraenkel Gallery, San Francisco and Ortuzar, New York; © The Peter Hujar Archive/ Artists Rights Society (ARS).

The exhibition additionally pairs contact sheets with prints, together with works not beforehand exhibited, to indicate how portraits developed by an ongoing alternate between photographer and topic. Working primarily with a medium-format digicam that allowed him to keep up eye contact along with his sitters, Hujar created situations wherein each events influenced the picture.

Large-scale reproductions of pages from Hujar’s job books will probably be displayed on the gallery partitions, providing a chronological view of his profession. The earliest surviving entry dates to 1954, when he started photographing pals and acquaintances in New York.

A Photographer Who Found Critical Acclaim After Death

Today, Hujar is acknowledged as among the many best American photographers of the late twentieth century. He is greatest identified for his intimate, highly effective, and piercing black-and-white portraits of luminaries of the queer, bohemian artwork scene of downtown Manhattan between the late Nineteen Sixties and the onset of the AIDs plague within the Eighties.

Some of Hujar’s most well-known images embody Orgasmic Man (1969) which turned the duvet of Hanya Yanagihara’s bestselling novel A Little Life — in addition to the ultimate portrait of transgender actress and Andy Warhol muse Candy Darling on her deathbed at 29-years-old.

However, Hujar’s work solely acquired marginal recognition throughout his lifetime. It was solely after his demise of AIDS-related pneumonia on the age of fifty-three, that his images started to obtain the essential esteem they deserved.


Image credit: All photographs courtesy of The Morgan Library & Museum.




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