'Hujar’s people are endowed with a quality of being at large, they’re approachable, and they look unspent. Meeting Dean Savard’s smile at a heavy-drinking party, one knows what this would have meant in close quarters. Restless in their effect, the objects in the scene fail to compete with the steady flirt of the young man’s eyes.' [...] The large number of Hujar’s reclining portraits was well worth notice by writers on his work. His studies of the mummies in the Palermo catacombs are involuntarily stiffened in this pose, but to many of the photographer’s living models it seems to have been congenial. It relaxed them, with their weight easily responding to gravity. It also let him come in close, and affords us the subtly unfamiliar pleasure of seeing the face more or less horizontally. Further, the pose establishes an intimacy with the viewer that seems vaguely privileged and conversationally offhand, even though the image is composed very surely.'

– Excerpt from Artforum's article written by Max Kozloff.