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condition of American society. Actually, Casas might be considered a satirist in paint. He is a satirist of the Juvenalian (pessimistic) prototype, but, nonetheless, his goal is "reform"10  He offers "a penetrating critique of custom and conduct."11

In Humanscapes 43 and 49, the satirist, Casas, switches his emphasis to violence, which also dominates the television and the movie screens. In Humanscape 43, the greediness evidens in American society shows through in the dollar signs on the two s's in the word "skills." However, there are also political overtonesn in Humanscape 43. The single brown hand is a symbol of the struggling Mexican-American, barely able, if at all, to survive in American society.

Casas feels that all art is political. He feels that art is propaganda and that it reflects a culture. Therefore, it cannot be separated from "the three demons," which are theology, economics, and politics. This theory of Casas overshadows his more recent paintings in the series, approximately numbers 43 through 70.

The social and the political aspects of Casas' more recent work can be seen especially well in Humanscapes 47, 62, 65, and 68. The emphasis here is on the minority, more specifically, the Mexican-American minority.

Casas' art becomes a vehicle for expressing the desire for political change. In this respect, he is much like