"Thomas was intimately familiar with the travesty of self-assertion. As an artist, he created a reality out of the fiction of his name, remaking the latter in the image of literature and dreams. He left art historians no choice but to become sleuths in the psychoanalytic chamber, at once analyst and analysand, more interested in the queer performative rhetorics of desire than in the demonstrable (f)acts of a subject named ‘Philippe Thomas’.”"