Vernon Fisher’s combinations of literary texts and neo-photo-realist paintings question some of the expectations with which we approach narrative content. The artist cuts his texts directly into highly worked images of media personalities, parking lots, nondescript automobiles and scenes from his native Texas landscape; the integrated text deliberately challenges the clarity and sanctity of recognizable subjects. In one sense, the fusion of verbal and visual implies a continuation of esthetic concerns deriving from Cubist collage. Here, however, the issue is not manipulation of planes, but