I have to say some of the most compelling parts of [Untitled (Larry and Bobby Kissing)] for me were the stuff around the edges. The setting up, the breaking apart, and the genuine affection that was there as you were both checking, “okay is that angle right” and “are we doing it?” There was this wonderful thing where it would pop into a version of that image and then pop out.

One of the things that is very difficult about photography in general is that often the photographic image becomes the stopping point or it becomes the destination. The idea that it is about getting everything to that particular state and then it’s done. And museums of photography are somehow about a parade of perfect, indissoluble moments that never go on from that reality. So seeing you flow into that and then out of it seemed radical.

In so many ways these actions are about instructions. We think of Mapplethorpe as a stopping place, but you use it — as your porn was — to make it some kind of weird instruction booklet. Full panel.