titled “Success is a job in New York …:” The Early Art and Business of Andy Warhol. Donna M. DeSalvo organized the show, and Thomas W. Sokolowski hosted it at the Grey Art Gallery & Study Center, New York, in 1989. My essay, “Tomorrow’s Man,” explored the connections between Warhol’s art and his sexual identity. When I had my Dia-sponsored glimpse of the Warhol estate it was a revelation to find a large promotional flyer for Warhol’s services as a commercial artist. Dating from the mid-1950s, and printed in orange on thin pale green paper, it reproduced a full-length drawing of a heavily tattooed woman standing in a graceful pose with a giant rose in her hand. Her corseted athletic costume was Victorian in style, but her tattoosArt Gallery in 1989 was timed to coincide with the elaborate memorial retrospective at the Museum of Modern Art, New York. The catalogue that MoMA produced was a hefty thing that cunningly ignored Warhol’s sexuality; and so too did Michael Brenson’s review in the New York Times. When Roberta Smith wrote about the Grey’s project for the same newspaper she noted a few differences between the two: “In many ways the Grey exhibition gives a fuller and more personal portrait of Warhol than its uptown counterpart. It confirms his legendary innocence and sweetness. It includes work that acknowledges his homosexuality more forthrightly.” How different the sociocultural landscape was two decades later, when Holland Cotter wrote about the 2002 Warhol retrospective at the Museum of Contemporary Art, Los Angeles,