Enrique Chagoya, ‘The Enlightened Savage’, 2002, Phillips

All signed with initials and numbered 'A.P. 2/5' in black ink, some slightly faded (an artist's proof, the edition was 40), published by Trillium Press, San Francisco.

Including: Cream of Dealer; Fundraiser's Adobo; Models Meat; Art Historian Alphabet;Curators Liver; Museum Director's Tripe, Anthropologist with Noodles; Artist's Brains with Rice; Critic's Tongue; and Collectors Broth

About Enrique Chagoya

Integrating elements of pre-Columbian mythology, Western religious iconography, and American pop culture, Enrique Chagoya’s politically charged paintings and prints are about the changing nature of culture and power relationships between the U.S., Central and South America, and the rest of the world. His work juxtaposes diverse visual references including canonical European painting and sculpture, indigenous Central American codex books, pornography, and currency. Over the past decade, he has largely focused on issues of illegal immigration, racial stereotypes, and xenophobia in the post-9/11 world. One particularly controversial piece of Chagoya’s was a multi-panel lithograph in the 2003 series “The Misadventures of Romantic Cannibals”, intended as a commentary on corruption in the Catholic church. It was widely misinterpreted and decried as a depiction of Jesus performing a sex act, and ultimately destroyed in 2010 by a museum visitor wielding a crowbar.

Mexican-American, b. 1953, Mexico City, Mexico, based in San Francisco, California