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The custom of American iconoclasts who argument the function of communal, political, financial, devout, and heritage organisations is not a new one. From the American Revolution to the Transcendentalists, from the communal restructures of Roosevelt to the Civil Rights and War dispute movements of the sixties, creative individuals and writers have sustained an significant presence. As long as Americans have accepted in a democracy, the voice of the outsider has made an significant assistance to humanity through the use irony and wit as a entails to expound on their individual beliefs. As a California-based creative individual who inquiries the function of belief in relative to advocating newspapers and, more lately, the infantry function of the United States in the Middle East, Robert Reynolds uses a kind of art-making strategies that apparently dispute diverse assumptions considering sacrosanct mind-set and heritage biases. Through his paintings, blended newspapers buildings, and neon indications, Reynolds presents phrases and pictures that function as icons of heritage difference.

In this public displaying, he discovers the intersection of heritage dissimilarities by giving the phrase 'virgin' in multiple neon indications inscribed in English, German, and Arabic. Viewers who arrive to the public displaying will meet these indications in the windows as they go in into the building. Here they may address the implication of the phrases and their varied heritage connotations. When glimpsed simultaneously, the emotional assemble granted to the significance of the phrases inside each heritage may pointer both ambiguity and interference in periods of an unquestionable communication.

Also in the public displaying, Reynolds presents a sequence of paintings that assist a inquisitive, if not funny, variety of secular and religious meanings. For demonstration, in a large triptych, the creative individual appropriates a Hollywood movie likeness of Marilyn Monroe who is shown standing in the middle of a barren ...