这些画作采用两种美丽的原型，并且对于控制这些原型的男士进行揭示。通过单手引导，将玛丽莲梦露不确定、脆弱的零碎图片与一位阿富汗男舞妓Bacha Baz的图片摆放在一起，从而揭示美国正义沦丧的线索。这些舞男在塔利班统治阿富汗期间被放逐，然后在美国占领后回国成为性奴隶，并且大受欢迎。但与作为权势男人的玩物、具有更易接受的形象的脆弱明星相比，这些男孩儿是否值得更多同情？实际上，他们同病相连，唯一不同的是生活在不同的现实中，而这一令人不舒服的事实对画家而言非常重要，可以帮助他建构关于所有权、性欲和性别的思想。

These paintings take two archetypes of beauty and speak strongly about the men who control them. By placing choppy images of Marilyn Monroe, uncertain and vulnerable, led by a single hand, with images of Bacha Baz, dancing boy prostitute from Afghanistan, a common thread of American injustice is revealed. The dancing boys were outlawed during the Taliban’s rule in Afghanistan and have since returned in popularity as sexual slaves after American occupation. But do these boys deserve any more sympathy than the similar yet much more acceptable image of the vulnerable star used by powerful men? In actuality, they are the same, just living in different realities, and this uncomfortable truth is important to the artist in constructing ideas about ownership, sexuality and gender.