David Buckingham’s work is arresting. The thick, bold typeface in coexistence with the harsh, eroded metal exoskeleton, accurately brings one of the most memorable lines in American cinema to life. Straight out of Quentin Tarantino’s Pulp Fiction, Buckingham presents ENGLISH, MOTHER FUCKER! DO YOU SPEAK IT? The sign has strikingly industrial characteristics, which seem to compliment the message, giving it an even more vulgar tone. With its eroded appearance, and rust-ridden surface, the work jumps at the viewer with threatening intentions. The bright colors and large scale make the piece extremely difficult to ignore as it contrasts profoundly with its surroundings. Although viewers are, in all likelihood, made uncomfortable at the sight of such a message, this seems to be an appropriate and intended reaction. Such a display is very much out of place in the polite society of the gallery, but it is that very characteristic that makes the piece pertinent in this very unconventional setting. An insult to one’s senses such as this allows people to understand the importance of crass behavior in a society that selectively ostracizes the development of new ideas. There is something that is extraordinarily pleasing about the work’s offensiveness. It is an insult to society, a sleight to present-day America and its pretended Puritanism. The movie from which it is derived is widely acclaimed not only for of its excellent plotline but also for the alacrity of its distasteful but very available content. In addition to the large sign we see a rather large cut-out of a gun, titled Huey P. Long. This second element of the diptych captures humanity’s dissatisfaction with society’s indulgence in corrupt political affairs and brings the piece home to New Orleans. Representing our historical figure, the piece presents an insight into the affairs of corrupt bureaucrats and the peculiar celebration of bad politics which only this city can turn into cause for a parade. It is crucial, at times, for people to be exposed to something they would not ordinarily indulge, and Buckingham’s work does exactly that.