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Space E i t h e r s i d e o f t h e l i n e - by }. Brooks Joyner I n recent months, the Vancouver Art Gallery (VAG) has mounted an exhibition from its permanent collection which focused on Francisco Goya's The Disasters of War but included selected contemporary works by other artists whose content embraces the political and social concerns of our contemporary world. Regrettably, certain people in our community took issue with the inclusion of two works by Cuban/ Honduran/American photographer, Andres Serrano: photographs of a plastic figurine of the Pope immersed in what was described by the artist as his own bodily fluids. These works were of such significant artistic interest to the Acquisitions Committee several years ago that they were deemed an important addition to the permanent collection and as such were subject to the evaluative process applied to any work of art that is acquired in perpetuity. The work by Serrano has received international acclaim and is currently the subject of a major exhibition in the United States, while at the same time it has been at the centre of significant debate and attention. It is our position and belief that Serrano, regardless of the title of the work [Piss Pope I & If], was not directing judgement at any individual, particularly Pope John Paul II. but was reflecting on his own Catholic autobiographical experiences which included his confirmation at age 13 and the vivid ritualistic ceremonies and symbolism of his own Latino Catholic experience. Arguments have been leveled against Serrano, these particular works and the VAG for its perceived indifference to the feelings of individuals in the community and the impression that we have somehow ignored some criteria that might be called the line of decency, by exhibiting this work in conjunction with the historical work of Goya. I can say with confidence that the exhibition was carefully thought out, that rationale was provided, and that ample opportunities have been provided vis-a-vis the media, correspondence, personal dialogue and engagement to allow all sides of the discussion a voice. To those who would suggest that this work be removed and/or destroyed because of the four-letter work that is part of the title, I would reply that this lends support to a force much darker and more ominous-the abrogation of presentation, elimination of dialogue and denial of intellectual and artistic expression. As an open and free public institution, the VAG must remain as a presenter, free to bring forth the contents of its collection in much the same way as books are made available to the public on the shelves of our libraries; theatre presented in all its capacity to provoke; and cinema graphic and art available to those who wish to explore new avenues of expression and revealment. In closing, let me say to For o f d e c e n c y those who are unsettled by the work of Andres Serrano, take the time to investigate and explore the full body of this artist's work, use the inquisitiveness of our human nature to try and understand his motivation, personal expression and artistic lorm." J. Brooks Joyner is the director of the Vancouver Art Gallery. Understanding Motivation and Personal Expression v ^ 22