After the resumption of his career as an artist in 1985, David Cannon Dashiell’s work focused on questions of love and passion, health and morality: on AIDS, as both metaphor and reality in contemporary life. “Queer Mysteries,” the Adaline Kent Award exhibition for 1993, served as a retrospective of the remarkable body of paintings, drawings, sculpture, and installations Dashiell made over the past eight years, since he first began to suspect that he was infected with HIV. Sadly, this show was also Dashiell’s last as a living artist: he died in San Francisco during its final week.

The earlier