In his recent large-scale paintings, Conor McGrady at once mines the tradition of full-length portraiture and turns it on its head. Mimicking the compositional style of official commissioned paintings by artists from Giovanni Battista Moroni to Thomas Sully, McGrady locates the personality and power of his subjects as much in their dress and posture as in their facial expressions. In such images the body and its politics become virtual mirrors of each other. But McGrady’s figures express a very different politics from that of the kings and generals that were his predecessors’ subjects: They