Personally, I’d like to quibble with Brooks’s description of Catherine Opie’s Self-Portrait/Cutting (1993), which features the artist’s bare torso, into which someone has cut stick figures holding hands outside a house. In the photograph, Opie’s back bleeds from the action. “The figures depict an idyllic domestic dream that was hard for lesbians to realize at the time,” Brooks wrote. His next line, the start of a new paragraph, reads: “The general attitude is: Let’s smash injustice with a sledgehammer.” When I look at Opie’s picture, I don’t see a political statement. I see the pain, desire, and hope of a single individual. She’s not generalizing about gay rights: She’s carved her own personal dream into her own back. The fact that her work simultaneously touched on key political issues only opens it up to additional interpretations. Opie turned her body into a raw, vulnerable canvas. How much more emotional does it get?