Crimp’s analysis of Andy Warhol’s most celebrated film, The Chelsea Girls, proceeds from Warhol’s remark about the film in Popism: “It may have looked like a horror show—‘cubicles in hell’—to some outside people, but to us it was more like a comfort.” What might have been comforting to Warhol about a film that reviewers at the time found utterly disturbing, comparing it to William Burroughs or Hieronymus Bosch or calling it a “peep show put-on” and “a cesspool of vulgarity and talentless confusion”? By paying careful attention to the film’s form as well as to the milieu it depicts, Crimp finds new meaning in what Yvonne Rainer recognized in her 1966 review of The Chelsea Girls as “another story”—meaning that might indeed be “a comfort.”