David Salle’s refusal to resolve disparate elements into a harmonious whole reflects a postmodernist world view that emerged in the 1980s. Modernism’s optimism, belief in progress and linear view of history no longer seemed valid in our post-industrial world. In Poverty Is No Disgrace, Salle presents a smorgasbord of images, styles and subjects from art history, raising questions about the role of painting in an image-saturated society. These include whether it is still possible to create a painting that does not reference past art and whether one style is superior to another. The nude, based on a photograph, questions the relationship of photography to painting, while the classic 1950s chair brings up the relative status and interdependence of the “fine” and “applied” arts.