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Burroughs—“a coalition of punks,” as one critic put it—Basquiat convinced gallerist Annina Nosei to let him participate in a show she was planning. In advance of the exhibit, Nosei gave the artist use of the two-thousand-square-foot studio space in the basement of her Prince Street gallery. (The implications of a white woman installing a Black man in her “underground lair,” as Fab 5 Freddy described the arrangement, didn’t sit well with some of Basquiat’s friends.) Working in Nosei’s studio, Basquiat completed La Hara, a depiction of a red-eyed white policeman, and Irony of a Negro Policeman, an acrylic and oil stick work depicting a Black lawman in uniform. The latter was displayed in Nosei’s
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Elon Green (The Man Nobody Killed: Life, Death, and Art in Michael Stewart's New York)