Tony Conrad’s recent paintings take inspiration from the meticulous patterning characteristic of traditional Persian rugs and fabrics. In their symmetry, arabesque embellishments, and vibrant colors, his paintings epitomize the delicate beauty of these woven textiles. Collaged into the composition, however, are images of bullets—metallic cartridges and round case heads scanned from photographs and printed on thin paper. Conrad juxtaposes gender and cultural stereotypes in complex opposition. The iconic symbols of masculinity he remembers from growing up in rural Wisconsin—trophy stags, hunter silhouettes, and ammunition—are combined with densely layered designs of Persian femininity and domesticity. In placing them in conflict with each other, he also synthesizes them in an ironic harmony with political and sexual implications.