When Brooklyn-based artist Nicole Eisenman’s bold, idiosyncratic work first hit the walls of New York galleries in the early nineties, no one knew how to respond. Was it a feminist revision of art history? A disruptive “queering” of trite scenes culled from popular cartoons and commercial culture? A satirical psychoanalytical take on the monstrousness of public and private human experience? The answer, it turns out, was all of the above and then some. With its unique blend of lucid and imaginative elements, and gloriously awkward merging of the banal with the absurd, her 1992 Bacon-esque portrait Jew Drag King eludes simple categorization. The work is an inversion of mainstream conventions synthesized with counterculture lifestyles, creating a figurative language distinct to Eisenman.