Nan Goldin describes her photographs as a “diary that she makes people read”. From the age of 18, Goldin photographed the people around her, documenting her friends and her wide circle of acquaintances. Through the objective, yet personal and sensitive gaze of her camera, we become witnesses to a lifestyle that society is quick to label as “taboo”. Sexuality, transsexuality, transvestism and the “nature of relationships” are at the heart of Goldin’s work. Her work is celebrated not for its ability to shock, but for its sincerity in retaining a sense of human life. The complex collection is the result of real people’s relationships that span a number of years. Recorded history can be manufactured and prove inaccurate, but this visual documentation endures as the ultimate form of “memory”. Nan Goldin’s work, her diary, is an attempt never to lose this “real memory” of her eiqen history, and at the same time it addresses very meaningful issues in society.