Brooklyn-based artist Adam Helms (b. 1974) uses historical photographic portraits and western iconography to investigate archetypes of social and political identity. Helms often appropriates archival imagery in his charcoal drawings, screen prints, assemblages, and installations. These transmutations of printed materials are equally recognizable and anonymous, and complicate the homogenized representation of historical and contemporary events. Helms’ recontextualization of historical imagery calls attention to the issues suggested by visual artifacts and the seemingly definitive framework in which they reside.