Max Maslansky bases his artwork on vintage pornographic imagery, making paintings on used bed sheets, found magazine pages and works on paper. Investigating pornography’s moral ambiguity in relation to the depiction of women, men, and desire, he mines painting’s history of figuration, pattern, gesture, and in particular, the stain. In the world of pornography, otherwise real-life transgressions are perfunctory, no matter how vulgar or aggressive they may appear.