Massacre of Innocence suggests that the gaze of the artist is both that of voyeur and an object of self-scrutiny. My relationship to an imaginary natural world that is both exotic and threatening becomes the grounds for a secondary superimposition in the form of a series of names of imaginary places – Shangri La, El Dorado, Mons Lunae – that run along the bottom of the frame and are interspersed with another series of actual places including Wounded Knee (1890); Santa Anna, El Salvador (1932); and My Lai, Vietnam (1968). In other words, these place-names alternate between the fantastic and the horrific. The fantastic consists of imaginary sites such as the horrific refers to places where massacres have occurred, especially involving the deaths of children. Within the image itself, which consists of a panning across what appears to be a jungle or scrim of foliage (all made of plastic and paper foliage arranged in my studio), is the fallen body of a Vietnamese child from the village of My Ly in 1968.