Widely associated with a re-emergence of the figurative in contemporary painting, Lisa Yuskavage has developed her own genre of portraiture in which lavish, erotic, vulgar, angelic women (and more recently men) are cast within fantastical landscapes or dramatically lit interiors. Seamlessly blending pop cultural imagery, color theory, and psychology, Yuskavage draws on classical and modern painterly techniques and, in particular, marshals color as a conduit for complex psychological constructs. As Christopher Bedford describes, Yuskavage’s paintings “are disarmingly present, even naked in their address, laying themselves bare for inspection not because they are exacting and slavish in their depictions, but instead because they hold little if anything back. Yet for all their nakedness, the worlds depicted are just that—worlds—and they are fundamentally distant from our own. The strength of the invitation to look at these paintings and what, in turn, they extend in exchange is exactly as forceful as the world of meaning and implication that is palpable in every brushstroke, yet just slightly out of reach. This collision of clarity of presentation and elusiveness of meaning constitutes [their] central, beguiling axis.”^¹