Al Souza’s new paintings are apparently disjunctive. At first glance they look like overlays of unrelated images, and seem to depend on modish deconstructionist strategies. What they really require is that we retune our focus: it’s the whole rather than the parts that matters most here. These highly graphic renderings of disparate images have been executed in near-identical dimensions and superimposed upon one another. Looking at Souza’s paintings is like reading an onionskin edition of collated manuals, encyclopedias, comic books, or popular woodcuts. The visual intricacy of the conflations