Sandra Meigs paints the social masks of popular culture, using kitsch idioms to penetrate the thin veneer of popular folklore. At first her installation of 21 paintings seems to be simply a stereotypical parody of the heroic Western novel: this moody imbroglio of laconic passion offers up a pantheon of macho cowboys and forlorn cowgirls, set amidst a high chaparral landscape littered with wagon wheels, gigantesque horses, sage brush, and campfires. It soon becomes apparent that these figures culled from the cult of the Western melodrama are homesteading on strangely psychoanalytic feminist