A SUCCESSFUL MINTER can do a lot of damage in a small country. To name the painter, Luc Tuymans. To name the country, Belgium. Young artists here struggle with the question of how to escape Belgium's association with a kind of perverted surrealism. In Tuymans's case this resulted in frightening, loaded, disturbed images. On the other end of the spectrum, the same struggle gave rise to Wim Delvoye's cynical view on art versus—or embracing—commercial language. But a tattooed pig in a museum or a machine that produces shit is, in a way, as Belgian as a Magritte painting. Both Tuymans and