A guy like Eugene Richards shows us how to get close with a wide while also not going so wide as to provide unpleasant distortion.

I don't think the examples shown in the preceding posts are particularly abusive, but I see much worse "excessive-wide-angle-syndrome" often... photographers who disrespect subjects by giving them gumby-heads, or photograph architecture- inside and out- with superwides and don't consider the keystoning and barrel distortion to be a negative effect. They seem to show a lack of understanding of their tools - it's not a creative decision to go with the distortion, it's a lazy understanding of their own work, what they hold in their hands and where they put their feet.