Huck Snyder’s sets and installations, such as the 1988 series of holiday banners featured prominently at the New York Artists Equity Association’s BoHo Baazar, are heavily influenced and, in some cases, directly inspired by German Expressionist works. The reality-bending, hallucinatory surreality of his paintings further amplified the already prominent themes of trances, dream-like states, and sleepwalking within Kelly’s work, further contributing to their long-term artistic partnership. Snyder’s banners were last presented in 1988 at The Kitchen in New York City. In line with the NYAE’s values, and in the face of a culture that aimed to destroy the New York City enclave of queer artists that Snyder was part of, he built environments that revelled in all that the establishment rejected.
