Surprised by his pictures of animals, you can almost gather how Peter Hujar, a curiously neglected but also legendary photographer, who died in 1987, would portray people, and that he would have a memorable feeling for them. His dogs, horses, goats are individuated and affecting characters. They have sniffed in his presence. Some of them pause while others seem almost to display themselves. John Berger has written, “No animal confirms man, either positively or negatively. . . . But always its lack of common language, its silence, guarantees its distance, its distinctness, its exclusion, from and of man . . . .Just because of this distinctness. . . an animal’s life. . .can be seen to run parallel to his. Only in death do the two parallel lines converge. . . . With their parallel lives, animals offer . . .a companionship . . . to the loneliness of man as a species.”1 Hujar appears to have

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