Queer artist David Wojnarowicz chronicled his life as if he were preparing for this record of it. His predisposition toward creating art as a way of verifying his own existence wasn’t borne of self-interest, however, but rather a desire for vindication in a world that routinely censors voices of the oppressed. This paradox is at the heart of Wojnarowicz’s practicable mythology, succinctly captured here by nonfiction filmmaker Chris McKim (Out of Iraq), who utilizes the vastness of Wojnarowicz’s personal archives to create a portrait of an artist who spent his short life (Wojnarowicz passed away from HIV-related complications in 1992 at the age of 37) putting forth a body of work that itself composes a likeness of sorts, through myriad paintings, photographs, films, texts, and various other creative experimentations. The documentary explores Wojnarowicz’s troubled childhood, his tenure as a controversial member of the downtown New York arts scene in the 70s and 80s, and his efforts as an activist for queer rights amidst the emerging AIDS epidemic. His vivid and provocative work is at the center of the film, often featured in all its obscene glory; the title comes from a multimedia collage that includes a drawing of two men kissing and photos of Wojnarowicz and other artist friends in the nude. Needing a name for the piece, Wojnarowicz borrowed from a homophobic note he’d found on the ground, his anger and proclivity for self-reclamation palpable in such an appropriation. McKim’s film is an evocative summation of Wojnarowicz’s life and legacy—interviewees include family and friends, such as writer Fran Lebowitz and Wojnarowicz’s long-time partner—but it succeeds best in allowing the subject to speak for itself.