The prospect that General Idea’s AIDS poster, 1987, modeled on Robert Indiana’s mid-’60s LOVE image, might achieve a cultural visibility like that of its predecessor is discomforting but maybe inevitable. LOVE started out as a painting (1966) and proliferated as prints, sculpture, trinkets, and eventually an 8-cent stamp. Despite a four-square hardiness and glints of Op-ish rapture, it always exuded a locked-in anerotic somnolence. A commentary on either image’s verbal component would be negligible, although AIDS, unlike “love,” doesn’t shift much in its connotations. General Idea’s metonymic