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Mike Kelley, untitled, ca. 1974–76, duotone lithographic print, 24 x 17". From “Return of the Repressed: Destroy All Monsters, 1973–1977.”

“Return of the Repressed: Destroy All Monsters, 1973–1977”

PRISM

Mike Kelley, untitled, ca. 1974–76, duotone lithographic print, 24 x 17". From “Return of the Repressed: Destroy All Monsters, 1973–1977.”

Among Mike Kelley’s 1976 series “Untitled (Allegorical Drawings),” a sketch shows a bony nude figure crouching on the mutating head of another; the caption below reads, CRUDE PEASANTS STANDING ON THE GLORY THAT ONCE WAS ROME—UNAWARE OF A RICH HERITAGE. The understated drawing, one of many from this period included in Prism’s exhibition “Return of the Repressed: Destroy All Monsters, 1973–1977,” seems emblematic of the attitude behind the protopunk/art collective founded by Kelley, Cary Loren, Niagara, and Jim Shaw. With inborn eccentricity, subtle aggression, and faux naïveté, the four young artists fashioned themselves into a troupe of “crude peasants” squatting amid the spoils of postwar popular culture, with Shaw and Kelley occupying a Victorian house in Ann Arbor, Michigan, known as “God’s Oasis Drive In Church.”

Although the collective has continued, variously, to work

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