More typical of the artworld during that period, Wojnarowicz’s work was deeply political and addressed issues like homophobia and AIDS, from which he would die in 1992. Two shows with which he was involved, “Witnesses: Against Our Vanishing” and “Tongues of Flame”, embroiled him in censorship conflicts with the Christian right. (Those forces used so-called “obscene” art – usually addressing sexuality, gender, or religion – as wedge issues to mobilize their base and to attack federal government funding for the National Endowment for the Arts.) Though distanced and not a formal member, Wojnarowicz was still somewhat sympathetic to ACT UP.