In Peter Huttinger’s early, edgy art of the mid ’70s, a small cast of rather sordid characters were intended to symbolize opposed ideas and ideologies. However, both Asphaltum. a red-neck punk Popeye, and the Black Feminist, a curious merging of Grace Jones and Olive Oyl, were wiry scratchy and a little mean. They looked more alike than different, the contrast overly literal: white/black, male/female. These characters’ real opposites—toothy bunnies, blooming tulips. and curvaceous classical vases—entered Huttinger’s repertoire a few years ago, conceived, fittingly, in bright, bold, smoothly