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Several years ago, at a panel of art academics, I witnessed an eye-opening event. Behind an array of dons were projected the images of taro Picasso paintings--one, an abstract arrangement of colored shapes, the other, a figure. After a surfeit of deliberations on the circumstances of production, theories of sexuality, and the artist's "gaze," a student from the audience stood to make an observation. This abstract image, he suggested, mirrored key shapes in the figural work; namely, one could see a resemblance between the purple void carved out by the legs of the figure on the one side, and the dominant, diamond-shape field in the abstraction on the other. He was right. An ...