Rendered in a naive style that Muehl developed in the late 1960s, the works burst with scenes of sex, violence, and aggressively suckling infants. They are so expressively executed, with gestural, rapid-fire brushstrokes and pencil lines, that they verge on abstraction. Men and women with grossly exaggerated genitalia, and often oversized bodies and tiny heads, engage in rough intercourse. Scenes of slaughter and references to war appear here, too. In one painting, titled HITLER (1985), the Fuehrer’s face is smeared across the surface of the canvas, delineated with thick, black lines and scribbled-in patches of yellow, red, orange, white, and green pigment. Other paintings feature a field of tangled corpses, a figure viciously biting into a bird, and a pair of skeleton-headed men brandishing phallic guns. The intensity of these and the other compositions on view offers a sense of the ethos of Muehl’s live presentations—and may make some glad to see his vision confined to the canvas and the page.