As I walked through the gallery, I immediately stopped when I saw one painting. As I stopped and looked at it, I became more and more deeply puzzled. I’m not sure how to describe the picture.
It was a picture of a city, viewed from a high vantage point. It was a very beautiful city, with houses and towers and streets and parks. As I stood there, I thought for a moment that I heard the sound of children playing—and I looked, but I was the only one present.
This made all the more puzzling the fact that it was a disturbing picture—chilling even. It was not disturbing in the sense that a picture of the Crucifixion is disturbing, where the very beauty is what makes it disturbing. I tried to see what part might be causing it, and met frustration. It seemed that the beauty was itself what was wrong—but that couldn’t be right, because when I looked more closely I saw that the city was even more beautiful than I had imagined. The best way I could explain it to myself was that the ugliness of the picture could not exist except for an inestimable beauty. It was like an unflattering picture of an attractive friend—you can see your friend’s good looks, but the picture shows your friend in an ugly way. You have to fight the picture to really see your friend’s beauty—and I realized that I was fighting the picture to see the city’s real beauty. It was a shallow picture of something profound, and it was perverse. An artist who paints a picture helps you to see through his eyes—most help you to see a beauty that you could not see if you were standing in the same spot and looking. This was like looking at a mountaintop through a pair of eyes that were blind, with a blindness far more terrible, far more crippling, than any blindness that is merely physical. I stepped back in nausea.
I leaned against a pillar for support, and my eyes fell to the bottom of the frame. I glanced on the picture’s title: Porn.