Human nature demands that one make sense of their surroundings.  Thus, it is far more comfortable to rely on labels and transparency than it is to analyze and accept an ambiguous figure, such as each of the subjects in this exhibit, for what they are. Delia Irena Ramanauskas', Road Runner (1964), David Herskovitz', La Loca (1960), Bruce T. Chandler's Hermaphroditic Warrior (1968-69), and Jimmy De Sana's Kneeling Magical Figure (1999), each display a figure that, if lacking a title, would present more ambiguity than they already do.  Because of the human tendency to label and classify anything with which one comes in contact, it is easy to misjudge and misrepresent the surrounding world. Focusing on disability, for example, one might highlight the differences between themselves or the ideal figure and someone or something that presents what is viewed as an oddity, such as a physical or cognitive disability. Likewise, a person might prefer to ignore something that they don't understand. The inability to comprehend artwork such as these can make people as uncomfortable as being forced to tolerate imagery that they consider to be grotesque.

In the artistic works that follow, one might be prompted by a title or a visceral reaction to make assumptions about the works. Road Runner, for instance, might cause a viewer discomfort based on apparent deformities, as well as a sense of rigidity about the figure itself. Similarly, Hermaphroditic Warrior might evoke feelings of discomfort due to the fact that a viewer is unable to locate the face of the figure. However, the titles of each artistic piece challenges the initial reaction to the figure that has been presented.

Having read the title, and viewing Ramanauskas' Road Runner as reminiscent of a bird, one might notice the potential lack of wings, the disproportionate limbs, the head that appears to be somehow boxed in, or the fact that the figure seems to lack mobility. These characteristics of the figure can create an image of something that seems to be less than whole. The title of the piece encourages viewers to attempt to perceive something realistic, such as a bird, while the piece itself portrays something that seems to be inanimate; something not quite dead, not quite living,
yet not quite animal and not quite object. This invitation to find something familiar within the work, while the work itself highlights jarring differences, challenges a viewer to find the similarities between what is shown and what is expected, such as an image of a more realistic bird.

In contrast to Ramanauskas’ artwork, which humanizes an inanimate object, Herskovitz’ La Loca, offers an image that can be clearly and simply perceived as a human figure.  However, the title suggests that the subject is a “crazy woman,” allowing a viewer, who may have noticed the frightening, non-uniform lines of the woman’s clothing and hair, as well as the harsh features of her facial expression, to dehumanize the figure. Calling the subject a “crazy woman,” highlights her potential mental affliction, while simultaneously taking away from what humanizes her. The word, “woman,” highlights her humanity, while calling her “crazy” gives viewers a more available excuse to judge the way she is presented. Had the title used simply the word, “woman,” the opposite effect would occur, forcing a viewer to look for similarities in the figure, rather than dehumanizing her.

The titles of Chandler's Hermaphroditic Warrior and De Sana's Kneeling Magical Figure also challenge their viewers by implying a significant amount of strength to the subjects of their work. Hermaphroditic Warrior, for example, depicts a slightly hunched over, potentially exhausted person, suited in armor, though it is unclear beyond the title what the figure actually represents. Similarly, while Kneeling Magical Figure shows a figure with more easily recognized human traits, the title does not suggest the subject's humanity, but does imply that there are some potential powers involved or otherwise unreal qualities. The title suggests that the focus of the piece is on fantasy, while the figure itself appears to be human and based, at least partially, on reality.

The subject of each piece can be unsettling and prompts a viewer to turn away or to certainly look for all of the strange and odd characteristics of each figure. However, the titles draw the viewer's attention back to the piece, prompting them to perceive each subject in a different way. Delia Irena Ramanauskas', Road Runner (1964), David Herskovitz', La Loca (1960), Bruce T. Chandler's Hermaphroditic Warrior,

Bruce T. Chandler's Hermaphroditic Warrior (1968-69), and Jimmy De Sana's Kneeling Magical Figure (1999), have the potential to be perceived in multiple ways. It is on the part of the viewer to recognize their willingness to search for something simple and straight-forward, allowing the artist's intentions in constructing the figure to become lost as a result.