Original:  The Foundation donated $1 million towards the 1993 establishment of the Robert Mapplethorpe Residence, a six-story townhouse for long-term residential AIDS treatment on East 17th Street in New York City, in partnership with Beth Israel Medical Center. (The residence closed in 2015 citing financial difficulties.) The Foundation also promotes fine art photography at the institutional level. The Foundation helps determine which galleries represent Mapplethorpe's art. In 2011, the Robert Mapplethorpe Foundation donated the Robert Mapplethorpe Archive, spanning from 1970 to 1989, to the Getty Research Institute. Art Mapplethorpe worked primarily in a studio, and almost exclusively in black and white, with the exception of some of his later work and his final exhibit "New Colors". His body of work features a wide range of subjects. He exhibited a great mastery on "how to appreciate a little difference between dark gray and the next brighter gray like a passionate listener can appreciate the difference between ppp, pp, p, mf f ff fff." Luis Alberto Mejia Clavijo.,Luis Alberto Mejia Clavijo (October 18, 2012), Robert Mapplethorpe: body as space Contemporary Art Theory. and the greater part of his work is on erotic imagery. He would refer to some of his own work as pornographic, with the aim of arousing the viewer, but which could also be regarded as high art.Arthur Coleman Danto and Mapplethorpe, Robert. Mapplethorpe. New York: Random House, 1992. Print. pg 326 His erotic art explored a wide range of sexual subjects, depicting the BDSM subculture of New York in the 1970s, portrayals of black male nudes, and classical nudes of female bodybuilders. One of the black models he worked with regularly was Derrick Cross, whose pose for the self-titled image in 1983 has been compared to the Farnese Hercules. Mapplethorpe was a participant observer for much of his erotic photography, participating in the sexual acts which he was photographing and engaging his models sexually. Other subjects included flowers, especially orchids and calla lilies, children, statues, and celebrities and other artists, including Andy Warhol, Louise Bourgeois, Deborah Harry, Kathy Acker, Richard Gere, Peter Gabriel, Grace Jones, Amanda Lear, Laurie Anderson, Iggy Pop, Philip Glass, David Hockney, Cindy Sherman, Joan Armatrading, and Patti Smith. Smith was a longtime roommate of Mapplethorpe and a frequent subject in his photography, including a stark, iconic photograph that appears on the cover of Smith's first album, Horses. His work often made reference to religious or classical imagery, such as a 1975 portrait of Patti Smith from 1986 which recalls Albrecht Dürer's 1500 self-portrait. Between 1980 and 1983, Mapplethorpe created over 150 photographs of bodybuilder Lisa Lyon, culminating in the 1983 photobook Lady, Lisa Lyon, published by Viking Press and with text by Bruce Chatwin. Controversy The Perfect Moment (1989 solo exhibit tour) In the summer of 1989, a traveling solo exhibit by Mapplethorpe brought national attention to the issues of public funding for the arts, as well as questions of censorship and the obscene. The Corcoran Gallery of Art in Washington, D.C., had agreed to be one of the host museums for the tour. Mapplethorpe decided to show his latest series that he explored shortly before his death. Titled Robert Mapplethorpe: The Perfect Moment, the show included photographs from his X Portfolio, which featured images of urophagia, gay BDSM and a self-portrait with a bullwhip inserted in his anus. It also featured photos of two children with exposed genitals.Danto, Arthur (1996). Playing with the Edge: The Photographic Achievement of Robert Mapplethorpe. Berkeley: University of California Press. The show was curated by Janet Kardon of the Institute of Contemporary Art (ICA).<ref name= " ICA" ></ref> The ICA was awarded a grant from the National Endowment for the Arts to support Mapplethorpe's exhibit at the Corcoran Gallery of Art. The Corcoran cancelled the show, terminating its contract with the ICA, because it did not want to get involved in the political issues that it raised, but instead the gallery was pulled into the controversy, which "intensified the debate waged both in the media and in Congress surrounding the NEA's funding of projects perceived by some individuals...to be inappropriate."Tannenbaum, Judith. "Robert Mapplethorpe: The Philadelphia Story." Art Journal 50.4 (1991): 71–76. Web. The hierarchy of the Corcoran and several members of the United States Congress were upset when the works were revealed to them, due to the homoerotic and sadomasochistic themes of some of the work. Though much of his work throughout his career had been regularly displayed in publicly funded exhibitions, conservative and religious organizations such as the American Family Association seized on this exhibition to vocally oppose government support for what they called "nothing more than the sensational presentation of potentially obscene material." In June 1989, pop artist Lowell Blair Nesbitt became involved in the censorship issue. Nesbitt, a long-time friend of Mapplethorpe, revealed that he had a $ 1.5-million bequest to the museum in his will, but publicly promised that if the museum refused to host the exhibition, he would revoke the bequest.
Revised:  The Foundation donated $1 million towards the 1993 establishment of the Robert Mapplethorpe Residence, a six-story townhouse for long-term residential AIDS treatment on East 17th Street in New York City, in partnership with Beth Israel Medical Center. The residence closed in 2015 citing financial difficulties. The Foundation also promotes fine art photography at the institutional level. The Foundation helps determine which galleries represent Mapplethorpe's art. In 2011, the Robert Mapplethorpe Foundation donated the Robert Mapplethorpe Archive, spanning from 1970 to 1989, to the Getty Research Institute. Art Mapplethorpe worked primarily in a studio, and almost exclusively in black and white, with the exception of some of his later work and his final exhibit "New Colors". His body of work features a wide range of subjects. He exhibited a great mastery on "how to appreciate a little difference between dark gray and the next brighter gray like a passionate listener can appreciate the difference between ppp, pp, p, mf f ff fff." Luis Alberto Mejia Clavijo.,Luis Alberto Mejia Clavijo (October 18, 2012), Robert Mapplethorpe: body as space Contemporary Art Theory. and the greater part of his work is on erotic imagery. He would refer to some of his own work as pornographic, with the aim of arousing the viewer, but which could also be regarded as high art.Arthur Coleman Danto and Mapplethorpe, Robert. Mapplethorpe. New York: Random House, 1992. Print. pg 326 His erotic art explored a wide range of sexual subjects, depicting the BDSM subculture of New York in the 1970s, portrayals of black male nudes, and classical nudes of female bodybuilders. One of the black models he worked with regularly was Derrick Cross, whose pose for the self-titled image in 1983 has been compared to the Farnese Hercules. Mapplethorpe was a participant observer for much of his erotic photography, participating in the sexual acts which he was photographing and engaging his models sexually. Other subjects included flowers, especially orchids and calla lilies, children, statues, and celebrities and other artists, including Andy Warhol, Louise Bourgeois, Deborah Harry, Kathy Acker, Richard Gere, Peter Gabriel, Grace Jones, Amanda Lear, Laurie Anderson, Iggy Pop, Philip Glass, David Hockney, Cindy Sherman, Joan Armatrading, and Patti Smith. Smith was a longtime roommate of Mapplethorpe and a frequent subject in his photography, including a stark, iconic photograph that appears on the cover of Smith's first album, Horses. His work often made reference to religious or classical imagery, such as a 1975 portrait of Patti Smith from 1986 which recalls Albrecht Dürer's 1500 self-portrait. Between 1980 and 1983, Mapplethorpe created over 150 photographs of bodybuilder Lisa Lyon, culminating in the 1983 photobook Lady, Lisa Lyon, published by Viking Press and with text by Bruce Chatwin. Controversy The Perfect Moment (1989 solo exhibit tour) In the summer of 1989, a traveling solo exhibit by Mapplethorpe brought national attention to the issues of public funding for the arts, as well as questions of censorship and the obscene. The Corcoran Gallery of Art in Washington, D.C., had agreed to be one of the host museums for the tour. Mapplethorpe decided to show his latest series that he explored shortly before his death. Titled Robert Mapplethorpe: The Perfect Moment, the show included photographs from his X Portfolio, which featured images of urophagia, gay BDSM and a self-portrait with a bullwhip inserted in his anus. It also featured photos of two children with exposed genitals.Danto, Arthur (1996). Playing with the Edge: The Photographic Achievement of Robert Mapplethorpe. Berkeley: University of California Press. The show was curated by Janet Kardon of the Institute of Contemporary Art (ICA).<ref name= " ICA" ></ref> The ICA was awarded a grant from the National Endowment for the Arts to support Mapplethorpe's exhibit at the Corcoran Gallery of Art. The Corcoran cancelled the show, terminating its contract with the ICA, because it did not want to get involved in the political issues that it raised, but instead the gallery was pulled into the controversy, which "intensified the debate waged both in the media and in Congress surrounding the NEA's funding of projects perceived by some individuals...to be inappropriate."Tannenbaum, Judith. "Robert Mapplethorpe: The Philadelphia Story." Art Journal 50.4 (1991): 71–76. Web. The hierarchy of the Corcoran and several members of the United States Congress were upset when the works were revealed to them, due to the homoerotic and sadomasochistic themes of some of the work. Though much of his work throughout his career had been regularly displayed in publicly funded exhibitions, conservative and religious organizations such as the American Family Association seized on this exhibition to vocally oppose government support for what they called "nothing more than the sensational presentation of potentially obscene material." In June 1989, pop artist Lowell Blair Nesbitt became involved in the censorship issue. Nesbitt, a long-time friend of Mapplethorpe, revealed that he had a $ 1.5-million bequest to the museum in his will, but publicly promised that if the museum refused to host the exhibition, he would revoke the bequest.
Edit intent: fluency