Cunningham often uses plants in her work, and others are placed around the room-especially prominent in "The Greenhouse of Captain Bligh," where red and blue LED lights create a purple glow that suffuses the gallery's back room, which is filled with breadfruit trees. The glow produces an otherworldly effect and mimics Gauguin's use of color in a sophisticated and clever way-with no paint at all. When she does use paint, the result is less clear. In "Rainbow Warrior" she has painted a simple green boat with rainbow stripes on its side, mocking, perhaps, Gauguin's presumed primitivism. But for all of his tremendous flaws as both an artist and a person, Gauguin makes a magnificent use of color that is entirely absent in Cunningham's child-like painting on plexiglass. The next painting, "Teva Sylvian," is far more effective, placing a cutout photograph of a topless Tahitian women of the sort Gauguin was so drawn to (actually Gauguin's Tahitian brides were generally way underage, and this woman is old enough to keep the photo from counting as child pornography) on a simplified version of Gauguin's colonial-utopian images of unspoiled nature.