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Suffering some healing insight to the neurotic symptoms generated by living in a world dominate by alien and antique cultural images and stereotypes, like "Brownies" in Humanscape 62, to take a simple instance, or "American Beauty" in Humanscape 58. Humanscape 58 is "captioned" with the legend "American Beauty" in American colors, blue on a red and white ground, above which a "pictorial" image of two pink (red and white) "American beauties" and a clump of roses are deployed on a blue ground, behind which, on the symbolic screen, we are presented with the categorical "dictionary" image which defines the qualities of an American Beauty Rose. What Casas' juxtaposition of sign, image an symbol implies is that this image presents us as well with a subliminal prescriptive definition of "Beauty in America," in terms of a WASPish, voluptuous combination of "American" colors. 

This idea, that we live in a landscape not of things bot of subliminally appraise and prescriptive images, is most succinctly demonstrated in the earliest paining in the exhibition, Hunascape 35: Exit (1967), which also entitles the whole series. In this painting we are presented with a cluster of dispossed ark skinned people loitering in the shallow pictorial space before a large symbolic image of the torso of a reclining white woman viewed from above so that we are looking across her breasts and through her legs. The torso is rendered as a theatrical 19th-century landscape (or, more literally, humans cape) with the path between her breasts and legs implying some form of passage with overtones of ritual rebirth. This reading is reinforced by the painting's subtitle, "Exit," and the image not probably repro-