The artist Stanislav Grezdo is no stranger to the workings of the gears and levers of totalitarian propaganda or the visual machinery of religious idolatry. He grew up in the Czechoslovakia of the former Soviet bloc, under the Communist state apparatus of repression, in the midst of the baroque art of the Catholic Church. His work subverts the bombast of the authoritarian state and the solemnities of religious piety with a set of symbols even more grimly mechanical and rigidly pious than those he so drily quotes. His icons are the work of an iconoclast.