Everybody knows Mel Ramos as the tits and ass man. But the disdain behind the association was recently repudiated by a retrospective, his largest to date, in honor of his seventy-fifth birthday. Of course his exhibition, titled “Girls, Candies and Comics,” featured buxom women on ketchup bottles and in martini glasses. It is the series “The Lost Paintings of 1965,” 1993–, “Hav-a-Havana,” 1996–, and “Animal Paintings,” 1964–71—all of which one might certainly consider somewhat perverse, with their locker-door goddesses lasciviously draping themselves on spark plugs, Havana cigars, or