In the richly discordant and resonant world of Anishinaabe artist Jim Denomie, most specifically in the alternative pop-culture universe of Oz, the Emergence, Dorothy is a bare-chested two-spirit in blue jeans and fuchsia flats. She’s holding hands with a gun-wielding Tin Man (who has a faucet for a penis) and a Scarecrow clutching his crotch as they travel down a patchwork road lined with an array of characters. What has that work to do with, say, Willem de Kooning’s Two Torsos, a jazzy sketch of angular mark making? Or Marlene Dumas’ Name No Names, in which a woman with a Marilyn Monroe helmet of gold hair confronts three Weimar-like ink-blot men? These pieces are among the 100 or so works on paper through which artists from Degas to Denomie have examined the human figure. Artistic innovations, rendered in a variety of media—featuring Ben Shahn, Elizabeth Peyton, Rosemarie Trockel, and Kara Walker—are also included. Here the body is dismembered and remembered, brandished and emboldened, made object and subject with aesthetic ingenuity.