Das Werk von Robert Mapplethorpe war der Fokus vieler Bücher und Ausstellungen seit seinem unzeitigen Tod durch AIDS 1989. Sein Einfluss reichte weit in viele Kunstrichtungen. Dieses wunderschön gestaltete Buch ist einzigartig, da es eine Auswahl seines uevre's präsentiert, das der brilliante Filmemacher Pedro Almodovar für eine Ausstellung in Madrid im Jahr 2011 zusammengestellt hat. Obwohl Almodovar die Fotografien für die Ausstellung zusammengestellt hat, wollte er nicht als Kurator erwähnt werden. Den Text, der die Auswahl von Almodovar erklärt und ergänzt, lieferte die amerikanische Autorin Siri Hustvedt.
Throughout this excellent book, reproducing the images of Mapplethorpe and arranged in a sophisticated manner, Siri Hustvedt offers an introduction and then comments on Almodóvar's selection of prints, adding her own knowledgeable thoughts on the works of Mapplethorpe and his place in the history of art. At times a printed page (in both Spanish and English) opposite one carefully reproduced photograph will be a simple statement, such as `May I say that Almodóvar is dense and complex, that his art is about proliferation, while Mapplethorpe reduces and simplifies? Is this accurate?' On another page she states, `Penises in Greek were always modestly sized. Mapplethorpe's images of penises are large, much larger than would have been deemed beautiful among the Greeks. They abhorred anything that suggested the monstrous.'
Toward the end of this 2012 book Hustvedt writes eloquently about the junction between the two artists: `The most important photo to the logic of the exhibition is the first one - Mapplethorpe's mask-like self-portrait that reveals only his eyes. The rest of the face is missing. What counts, after all, in what is to follow is a personal vision, the way the artist sees. It's a photograph about voyeurism, and all photographers and filmmakers are voyeurs, aren't they? They direct their cameras at real people and things, but what appears in their art is an imaginary reality, a product not only of what is there in front of them, but of their dreams and fantasies and wishes. This is where the two artists overlap - in the drama of seeing.'