Two hundred years ago, the Spanish painter Francisco de Goya likewise, if rather more masterfully, wrong-footed critics by creating two versions of the same woman in identical poses: one nude and the other fully clothed. But anyone who has ever stood before Goya’s The Clothed Majaand The Naked Maja (which was confiscated by the Spanish Inquisition after it was discovered in a private room that Prime Minister Manuel de Godoy had created for nude paintings) can attest that it is the attired figure, rather than the contraband disrobed one, that is more titillating. Echoing Goya’s Majas, Lushsux’s crude caricatures of Clinton expose how the public gaze is still vexed by the female body, and remind us that, like beauty, shock is a quality we half perceive and half create.

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