Lyle Ashton Harris: “[The Watering Hole] was less about [Jeffrey] Dahmer per se, but the notion of Dahmer wrath... [I] was looking at the way in which, you know, black culture gets consumed too—whether that's, let's say, Mapplethorpe, or Dahmer, or Dana Schutz, for that matter. The way in which the claiming or tapping into that currency and using the currency as a way to somehow speak without really thinking of the larger—I wanted to somehow pull back and to somehow to look at, you know, the architect of whiteness, you know, in the public imagination, and to give it a name or face, if you will, to that level of consumption.”