IT JUST TAKES ONE: a single dose that forever halts your breath; a killer product that hatches a monstrous fortune; a dead-set activist who barricades herself across history’s turnpike, lying flat, blocking traffic, screaming, “STOP.”
In our timeline, there is only one Nan Goldin. A singular woman, she is largely responsible for the moral earthquake that in recent years has shaken the foundations of art and philanthropy. For decades, the art world operated as a high-end laundry service: In exchange for cash, museums and galleries would gently scrub the reputations of wealthy families such as the