The interview was part of a larger, unrealized project. Rosenkrantz had planned to conduct a number of interviews with different artists, each conversation a kind of day-in-the-life, a textual portrait of the artist. Only two artists were interviewed: Peter Hujar and Chuck Close.
"Peter Hujar 12/18/74" written at top of page 1 with minor corrections in ink and pencil by Rosenkrantz on pages 1, 2, 11-13, and 19.
Discussing Hujar's morning starts with a phone call from Susan Sontag, who wants to see his photography show in SoHo but isn't sure where Broome Street is. ("A little out of touch" is Rosenkrantz's response to that.); mentioning a French editor from Vogue ringing Hujar's Second Avenue apartment to pick up the prints of a commercial shoot with supermodel Lauren Hutton; describing how Hujar walks to Avenue C to shoot a portrait of a grumpy and distrustful Allen Ginsberg for The New York Times; saying how Vince Aletti--Hujar's close friend, who would later become art editor for The Village Voice--drops by to use his shower and order Chinese food; explaining how he's unhappy after developing prints (some of Ginsberg's), so he plays a Bach piece on his harpsichord and falls asleep to the "shop talk" of the sex workers on the street.