From Vince Aletti’s review for The New Yorker:
Going by the name Rip Colt, French revolutionized gay erotica in the nineteen-seventies with photographs of hyper-macho men who looked like Tom of Finland drawings come to life. In these black-and-white Polaroids, all from the late sixties, French’s vision is still a work in progress, as he poses his subjects in cowboy, biker, and construction-worker gear, exploiting fetishes that the Village People would soon transform into pop icons. The work recalls George Platt Lynes, anticipates Bruce Weber, and has the rude energy of great pulp. Through Dec. 21.