Billy Quinn 1954:
Ginge Rack with Electric Curling Irons and Impossibly Elongated Neck, after Michiel van Mierevelt, 2024-ish
Billy Quinn 1954:
Going Campin': The Right to Roam
Billy Quinn 1954:
Rrose and Marcel, Two Laurels Short of a Hardy
Billy Quinn 1954:
But, All Art Is Theft, and Genius Is a Matter for the Police
Billy Quinn 1954:
Detailed Preparatory Drawing of 'Giant Silverfish Crossing the Alps'
Billy Quinn 1954:
Giant Silverfish Crossing the Alps (Redux)
Billy Quinn 1954:
Vesalius Codpiece (Sutured)
Billy Quinn 1954:
Rembrandt's 'Mini Me' Had Not Turn Out as Rembrandt, or Anybody Else for That Matter, Had Expected
Billy Quinn 1954:
It Was the First Known Representation of Bifurcation Recorded in the Annals of Art History
Billy Quinn 1954:
Unfinished Painting, Dated 1630 on Reverse
Billy Quinn 1954:
Collar With Matching Satin Pouffe Sleeves and Lace Girdle
Billy Quinn 1954:
Artist in a Onesie, at Sixes and Sevens, with Radish Fingers
Billy Quinn 1954:
Jarry, Duchamp and a Third Headless Grace
Billy Quinn 1954:
Birds, Frogs, and Clouds Marcel
Billy Quinn 1954:
Art Amnesia (Rrose) on Her Final Infrathin-Bed
Billy Quinn 1954:
'The Shock of the Old'
Billy Quinn 1954:
Powerless Marcel Marcelled to the Power of Six