two butts pooping on each other

Result #1

two butts pooping on each other.The show is titled after the number of years that Diaspora, the title of the show, bears in relation to the years of exile. The title also signifies the degree to which the Holocaust is a part of this exile. Diaspora is a moment of exile, and the exile is a time of reflection, of introspection, and of reflection on the past. The Jewishness of the exile is evident in the Jews mourning for the dead, and in the Jews longing to return to the land of Israel. The exile is a time of reevaluation and renewal. The Jewishness of exile is evident in the Jews desire to return to the land of Israel.The show is titled after the number of years that Diaspora, the title of the show, bears in relation to the years of exile. The title also signifies the degree to which the Holocaust is a part of this exile. Diaspora is a moment of exile, and the exile is a time of reflection, of introspection, and of reflection on the past. The Jewishness of the exile is evident in the Jews mourning for the dead, and in the Jews longing to return to the land of Israel. The exile is a time of reevaluation and renewal. The Jewishness of exile is evident in the Jews desire to return to the land of Israel.The show is titled after the number of years that Diaspora, the title of the show, bears in relation to the years of exile. The title also signifies the degree to which the Holocaust is a part of this exile. Diaspora is a moment of exile, and the exile is a time of reflection, of introspection, and of reflection on the past. The Jewishness of the exile is evident in the Jews mourning for the dead, and in the Jews longing to return to the land of Israel. The exile is a time of reevaluation and renewal.

Result #2

two butts pooping on each other in a corner, as if they were coexisting. But at the very least, they were always at a distance, like one of those films where the camera pans in from a distance to see a detail of a face but never a whole image. In fact, the film was shot in black and white and thus seemed to be a kind of composite of two separate but distinct shots. This was why the black-and-white film was so compelling, why the double-exposed black-and-white was so intriguing, and why the single-exposed black-and-white was so intriguing. In the end, though, the double-exposed film was the better of the two, and the double-exposed film was the better of the two, and the double-exposed film was the better of the two, and the double-exposed film was the better of the two. The best of the two was the double-exposed film, which is a kind of composite of two separate but distinct shots. The double-exposed film is a composite of two separate but distinct shots, and it is the composite of two separate but distinct shots that is the best of the two. The best of the two was the double-exposed film, which is a composite of two separate but distinct shots. The double-exposed film is a composite of two separate but distinct shots, and it is the composite of two separate but distinct shots that is the best of the two. The best of the two was the double-exposed film, which is a composite of two separate but distinct shots. The double-exposed film is a composite of two separate but distinct shots, and it is the composite of two separate but distinct shots that is the best of the two. The double-exposed film is a composite of two separate but distinct shots.

Result #3

two butts pooping on each other. In the video, the artist poses as a disembodied head and the camera—which looks like a television set—records the moment of contact, its separation from the body, and the resulting disintegration of the body. The two are never seen to meet again, and neither one ever learns the other. The video is based on a photograph of the artist lying on the floor of a bathroom, with his back to the camera. He points a gun at the camera, shoots it, and empties the clip into the water. The gun is not used, and the video shows the artist doing just that, in the same manner as he empties his clip into the water. The viewer is never led to believe that the gun is actually the artist; the image is a doctored version of reality.The video was first shown in a group show at the Museum of Contemporary Art in San Francisco in 2012, where the artist, now aged thirty-three, created an alternate history of the Los Angeles Art Institute of Contemporary Art in his own right. In this video, Los Angeles and New York are united in a singular moment, the artists singleminded pursuit of the ever-shifting history of the art world. In his video, the artists attempt to create a new identity for LA, a city built on the front lines of the art world. The artists urban identity is central to his art, which is based on a revolutionary vision of the city, and the artists art is based on the idea of the city as a site of resistance to the world. The artists art is based on a Marxist-Leninist-Maoist perspective on art and society, which seeks to take the art world into a new context, as he calls it. The artist is not interested in becoming an art-world celebrity; he is interested in creating a new art-world identity.

Result #4

two butts pooping on each other in a nonchalant manner. The feeling of intimacy that was emphasized here was a key element in the exhibition, which gave the show its name.In the past, Krasner has built a reputation for himself as an artist of extreme sensitivity to the human condition. His most recent show of work on paper, a series of drawings titled Krasner-Upper-Roses, 1993, was also his most recent exhibition. In these works, Krasner employs a bold, even lurid palette of colors in an attempt to capture the spirit of the Renaissance. The paintings, which were installed in a square frame, were painted on a linen panel and mounted on a wooden frame. Krasner has used the same material in the past, but now he has turned to canvas. The paintings in this show were produced in the past two years and are quite different in tone and composition from his earlier work. The colors and the lines have been completely swept away by the brushstrokes. In these works, the lines are not used to indicate the outlines of the figure but rather to emphasize the outline of the ground. In this way, the lines become a form of signifying. The color is applied in a more painterly and applied manner than before. The colors are used to emphasize the outline of the ground and the ground as a whole. The colors also give the painting a more painterly quality, as if the paint had been applied in a more systematic manner. The lines, which are applied in a vertical or horizontal format, are not used to indicate the outline of the ground but rather to emphasize the outline of the ground.The works in this show were installed on a wooden frame that was also used as a support. The supports, which were the most striking part of the exhibition, were the two wood panels that formed the main parts of the exhibition.

Result #5

two butts pooping on each other in a shower, the tableaux of some anthrope. While the work is ostensibly a critique of the object-world, its references are less academic than they seem. In fact, the viewer is asked to ponder what it means to be a single-minded object-maker, to be a bit of a baby, to be a philistine. The imagery of the work is that of an affectionate, loving father, a man who must have been born to be a man. The man in the piece, however, is a stinky, domineering monster.The exhibition included works from the 1970s and 80s. There were also a number of early pieces made from found objects. The most famous was an eight-foot-tall, four-part piece of cast concrete from a building on East Eighth Street, and a piece of plastic that looked like a pair of shoes. The other pieces were made by putting together found objects, often found in a trash heap or in a garage. The most memorable of these was the piece by artist Tony Smith, in which he filled a can of beer with elements from his kitchen, then filled the cans with the same materials that he used to make his sculpture. The cans were then filled with a mixture of foodstuffs (pills, sausage, and nuts) that he had found in a dumpster. The result was a work that had all the bite of a real can, but at the same time, at the same time, it was a surprisingly convincing object.In the show, the casts of the cast concrete pieces were displayed along with the plastic ones. Some of the casts looked like baby dollhouses. Others looked like minuscule bits of metal. The plastic pieces, on the other hand, looked like found objects in storage. The casts of the cast concrete pieces looked as if they had been dipped in alcohol.