In his trademarked beret and poncho, Fuller K. LaRouche embodies the contemporary sexual guerilla – a narcissistic, masochistic conquistador of suppressed desires. LaRouche – the nearly autistic partisan of this generation’s suburban milieu – has enlightened Brooklyn (and displaced more than a few natives) with his newest designs in the depraved – Human Ant Farm.
LaRouche has broken the mold for the art show in kidnapping a herd of genuine Mongolian tribesmen and bringing them to Western civilization – only to force them to coexist in a commune with bourgeoisie performance artists behind a two way mirror (all to the delight and dismay of passerbys).
LaRouche, the clown pope of the perpetually offended, skirts and rejects the controversy stemming from this human trafficking incident by rightfully defending his work as an obtuse exercise in bimodalism – which is to say, a gruesome compare and contrast between the metaphysical frustration and oblivion of both Central Asian nomads and contemporary American artists.
The result is simply, and unadulteratedly, outstanding. Although this neo-Dadaist human zoo has nearly resulted in several homicides and a decapitation, LaRouche plans on not only seeing the exhibit through for the duration of the spring, but also on abducting another indigenous tribe for a similar exhibit in Berlin which will feature mimes and amputee circus performers.