After the success of the recent touring exhibition My Complement, My Enemy, My Oppressor, My Love, Kara Walker's silhouetted cut-out figures are a now-familiar but still pungent presence in contemporary art, reenacting uncomfortable, often violent episodes in American race relations and reprising, in their formal simplicity, the ways in which marginalized identities are reduced and distorted into readily legible, caricatured forms. Walker's art continues, in other words, to pose awkward questions straightforwardly. Her imagery derives from the visual language of the antebellum South and the tradition of the minstrel show, which she directs to more disquieting ends. Where her source material parodied African-American culture with a terrifyingly casual jocularity--permitting white Americans to vicariously transgress their own taboos by depicting social chaos and unbridled sexuality--Walker applies that jocularity to her depictions of violence against African-Americans, lending them a...

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