The unconventional use of the color only adds to the mysteries of the disease and the uncomfortableness with the unknown.

The red could mean vitality or infection, nerves or humility, life or death. Rather, red colors the doctors’ faces, signaling a distinctly human issue-a connectedness, an empathy, a risk. However, the red is not only for wounds and fatalities. His disease is declared in all capital letters “HCV” on his headboard, his hands in loose prayer, his yellow face washed in faint blue and red.Īs featured in other exhibition artworks, the print’s red recalls blood with powerful severity. A single man to the right of the frame breaks the stark color scheme with his sickly skin tinged yellow by Hepatitis C. The colors bring life into the largely black and white exhibition and assert itself despite the proximity to the door-eliciting an interested gaze through its saturation alone. The first print Emerging Infectious Diseases (1999) has thick bold lines holding in washes of bright red and pops of an icy blue over a bright white backdrop. Parsed out for clarity, the different manifestations speak to the personal and impersonal sides of the AIDS pandemic. Imagined by the same artist, the prints are two products of an experience. Two depictions of AIDS in the Block Museum’s exhibition “Keep the Shadow, Ere the Substance Fade: Mourning during the AIDS Crisis.” But over time you realize they are in constant conversation with one another-in a silent partnership balancing scales rather than creating something too heavy. Initially, the prints seem connected only by their subject matter. They either greet you as you walk in-the first rotation along the wall-or they fall into the blind spot abyss of the doorway. Two prints hang side by side in a small gallery room.

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