But aren´t we done w/ mimetic traditions in painting already? Given Dilla´s technique & motif, one might boldly & arrogantly say his work is shit. (One can already hear the snoots ask, "Can´t we do away w/ Catholic angst by now? Must we embrace all this Christian guilt?") Yet this is perhaps the best way to approach the show. Right at the onset, consider every painting in the exhibition as shit, consider *Sacrament* as excremental: the externalized inner self, or what Freud-as reiterated by Zizek-identifies as the primordial form of gift. Zizek parrots Freud here, "The small child who gives his shit as a present is in a way giving the immediate equivalent of his Inner Self."

What a happy coincidence that the artist´s surname is a homonym for *dila*-Filipino for "tongue"-such that one can almost taste the Lacanian notion of the anal object in this exhibition, given the tongue´s erotic charge in relation to the anus. It is Lacan´s brand of psychoanalysis after all that reiterates the difference between animals & men: The disposal of shit is exactly problematized by humans "not because it has a bad smell, but because it came out of our innermost selves," proof that animals have no "interior." It is perhaps this shadowy interior that Dilla attempts to reproduce each time he depicts a graying doppelganger, a double that almost always appears sinister. Zizek, again: "It comes from inside the body, & this inside is evil, criminal." Unlike the persona in the painting "Death Agony," perhaps we should all learn to allow this interior to depart, if it´s at all possible to simply allow it to leave our respective subjectivities.   Continued...