But Jimenez spare no mercy on how the public should see him and his legacy, with the ultimatum of death. He had been no strangers to controversies – Determined to move his art out to the public, he worked on fiberglass monuments for many commissioned public installation by mixing high art with popular, and sometimes low, art. But here , unlike his provocative, rapturous public work, he presented him as an aging man, frail and vulnerable, staring outward. The double imagery that blends the living with the dead is striking, because it is visually uneasy. It is uneasy, because it is true, like his other public work that has been criticized as vulgar, violent or politically incorrect.
Another once-in-a-lifetime lot now available is a collection of over 200 etchings by Higgins (eBay number 180390114270). Higgins mastered the art of printmaking during his study in France. In 1957, the year before his death, the Library of Congress purchased 240 of his etchings. According to the seller, "the collection was squirrreled away by his dealer, Leonard Clayton Gallery of New York City, following Higgins's death in 1958", which "documents Higgin's etching and printmaking career nearly completely with a few duplicates."