Mobile, menacing, messy: These are words that immediately describe Manuel Ocampo’s hit-and-run approach to painting and, ostensibly, to identity. Like the late German artist Martin Kippenberger, Ocampo presents a surplus of meaning but a dandyish deficit of definable intention. The artist’s articulate, carefully rehearsed, public disdain for the vocabulary of art criticism and theory (he has often selected the baroque titles of his shows and individual paintings from art critics’ and canonical artists’ utterances), combined with his predilection for artistic collaborations (not least with another