Paradise and hell are depicted as a dichotomy, two separate worlds, a cause and effect, in Renaissance paintings such Hieronymus Bosch's triptych 'Garden of Earthly Delights.' Good and evil and pleasure and pain are opposing forces. But in Grace Hartigan's massive 1985 painting 'Visions of Heaven and Hell,' displayed in the lobby of MICA's angular glass Brown Center, the line between the grotesque and the glorious becomes unclear, and the narratives of pleasure, sin, and punishment become nonlinear. Hartigan, a key figure of the New York abstract expressionist movement who oversaw MICA's graduate Hoffberger School of Painting for more than four decades, compresses the two themes, taken from their traditional biblical context, into a single frame. Sanctity, vulgarity, pleasure, and punishment overlap and blur, calling into question the nature of sin and desire and where the lines exist, if at all, between heaven, hell, and Earth.