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Notes / 201portrait of the boyish William Walton, a former advisor to President Kennedy whooften escorted Jackie to ofƒcial events in the mid-1960s, is likely to have been paintedas a political comment. To Neel, Walton’s rolled up sleeves and large watchbandwere coded signals.21. Judy Grahn, Another Mother Tongue: Gay Words, Gay Worlds (Boston: BeaconPress, 1990), 14.22. Emile De Antonio and Mitch Tuchman, Painters Painting: A Candid History of theModern Art Scene, 1940–75 (New York: Abbeville, 1984), 21.23. Quoted in Thomas Hoving, Making the Mummies Dance (New York: Simon andSchuster, 1993), 207.24. David C. Berliner, “Women Artists Today: How Are They Doing Vis-à-Vis TheMen?” Cosmopolitan (October 1973), 219.25. Geldzahler was curator at the Dia Center for the Arts gallery in Bridgehampton,L.I., when he conducted the last interview with Neel. In 1991, several years beforehis own death, he curated an exhibition of Neel’s Spanish Harlem work at Bridgehampton.“Alice Neel,” Dia Center for the Arts, Bridgehampton, New York, June29–July 28, 1991. The text contains Geldzahler’s 1984 interview. A more comprehensiveexhibit was held at the Robert Miller gallery in 1994. “Alice Neel: TheYears in Spanish Harlem, 1938–1961,” February 14–March 19, 1994.26. Gail Gelburd, Introduction to “Androgyny in Art” (Hempstead, N.Y.: Emily LoweGallery, Hofstra University, 1982), n.p.27. Susan Sontag, “Notes on ‘Camp,’” Against Interpretation (New York: Farrar,Straus, Giroux, 1966), 279.28. Ibid., 289.29. Jean Genet, Our Lady of the Flowers (New York: Grove Press, 1943, 1963), 295–96.30. Two important essays on Warhol’s construction of a gay identity are Kenneth E. Silver,“Modes of Disclosure: The Construction of Gay Identity and the Rise of PopArt,” in Russell Ferguson, ed., Hand-Painted Pop: American Art in Transition 1955–62 (New York: Rizzoli International Publications, 1992), 179–204; and Trevor Fairbrother,“Tomorrow’s Man,” in Success Is a Job in New York: The Early Art andBusiness of Andy Warhol (New York: The Grey Art Gallery and Study Center, NewYork University, 1989), 56–76.31. Deborah Kass, whose use of the silkscreen technique is directly indebted to Warhol,told Holland Cotter in 1994 that “I ƒnd Andy so fascinating because he was the ƒrstqueer artist—I mean queer in the political sense we mean queer. While some of hishomosexual contemporaries were into coding and veiling and obscuring, Andy reallymade pictures about what it was like being a queer guy in the ’50s.” HollandCotter, “Art After Stonewall: 12 Artists Interviewed,” Art in America 82/6 (June1994), 57.32. Fairbrother, “Tomorrow’s Man,” in Success, 56. I am grateful to Trevor Fairbrotherfor reading and offering suggestions on this chapter.33. Ibid., 72.34. Calvin Tomkins, “Raggedy Andy,” in John Coplans, et al., Andy Warhol (Greenwich,Conn.: New York Graphic Society, 1970), 14.35. Robert Rosenblum states that Warhol “was a daily visitor to the church of St. Vin-