[minimal_table]
 3.1 Picture, “ACT-UP: Banner Paintings,” Southern Exposure Gallery, San Francisco, California, 1989. One of twenty-four paintings that incorporated texts about the AIDS crisis. Each painting layered several narratives and used a central “call to action” as its title and primary message. |
 3.2 Cinders, “20 Year Survey of Southern Exposure,” Group Exhibition, Southern Exposure Gallery, San Francisco, California, 1995. This oil-and-encaustic painting incorporated cinders from burnt newspaper obituaries of people who had died during the AIDS crisis. For years, these obituary images filled pages of the weekly edition of San Francisco’s Bay Area Reporter (a local LGBT newspaper) and were a constant reminder of the tragedy that was unfolding. |
 3.3 Protesters, “Remembering the 6th International Conference on AIDS,” Eye Gallery, San Francisco, California, 1991. A photograph of a street demonstration during the 1990 conference. |
 3.4 Protesters, “Remembering the 6th International Conference on AIDS,” Eye Gallery, San Francisco, California. 1991. A photograph of a “Die-In” demonstration during the 1990 conference. |
 3.5 Silence/Statement, “Monument & Memorial,” New Langton Arts, San Francisco, California, 1988. Models of Garden, an AIDS memorial designed for the Harvey Milk Plaza in San Francisco’s Castro district were displayed in this exhibition. This panel is one of four image/text pieces that formed the artist’s exhibition statement. |
 3.6 Artist’s Studio, San Francisco, c. 1988. A group of paintings that were studies for a proposed garden (an AIDS memorial for the Harvey Milk Plaza, San Francisco). The garden was to be a Zen-like place for contemplation and featured a river of bronze rocks on a bed of polished black granite stones. On the wall behind was to be inscribed: “ . . . Comrades, mine, and I in the midst, and their memory ever to keep” (Walt Whitman). |
 3.7 Morphine, “Fin again(s) Wake,” Intersection for the Arts, San Francisco, California, 1989. One of a series of drawings using texts from James Joyce’s Finnegan’s Wake to create mesostic poems using AIDS drugs as their central axis. |
 3.8 Exhibition invitation, “Fin again(s) Wake,” Intersection for the Arts, San Francisco, California. 1989. |
 3.9 Glinda, Wizard of Oz Series, “AIDS Timeline,” Group Material, Whitney Biennial, Whitney Museum of American Art, New York, 1991. |
 3.10 Chest with snowflake, My Dead, 1996. Screen image from an interactive CD-ROM. |
 3.11 Last Page, My Dead, 1996. The last page of James Joyce’s “The Dead” was used as an interface for an interactive CD-ROM. Pronouns used for identifying the gender of the characters in this short story were erased and the empty spaces were used as the hyperlinks to the multi-image-text narrative. |
 3.12 Artist, San Francisco, California, c. 1985. |
[/minimal_table]
SOUVENIR INDEX
[minimal_table]
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
[/minimal_table]