In his previous show, Alfred Harris produced two marvelous, semantically complex images. In Triumph of Intolerance, 1988, a thick wine-red band of a line flows out from a vulva-shaped incision in the palm of a hand. It takes a hard right down the canvas and into a cup, an elaborate antique vessel taking the shape of a human torso. The lengthy connecting line turns the two distant images into one: an emotionally compelling statement about interpersonal receptivity. In Citadel, 1987, Harris creates a sense of connection by overlaying two sets of references onto one diagram. The central image is