No image could greater embody the social condition of America. Longo's Bodyhammers are seductive, glamorous perhaps, but seen in the larger context of his oeuvre they are anything but celebrations. If the Paris works became abstractions of the already abstracted American superpower, then the gun drawings are one step further on that path, they again make reference to the individual through an absence, but now viewers must place themselves in regard to the image. Like the acid trips of the 1960's Longo's paintings are swirling psychedelic spaces. Random House, 1979.
Every weapon has two ends.