Michael Kimmelman memorializes him in the NYTimes (and actually mentions his partner, Darryl Pottorf).
For me, he is so incredibly important because he could do whatever he wanted. He exercised complete freedom in his work. When I saw the Guggenheim Retrospective in 1997 (so large that it filled the museum's midtown and SOHO locations), I was completely blown away. It was then that I realized all the stuff that people were crowing about in the 90's (collaboration, performance, expanded painting, technology, mediated imagery, working outside of the rectangle, graffiti, symbolism, painting as language, politics, multiculturalism) had been part of his practice from the beginning. And the "Erased deKooning Drawing" is still one of my favorite works of art of all time.
