Butterfield galloped into the museum with a delightful collection of giant horses made out of scrap metal and farm tools. Her enormous equines seemed ready to whinny and trot, but they were not the conventional steeds of cowboy art. Instead, her horses veered close to abstraction; they were gargantuan line drawings in steel. Cajero's dark and difficult show was a cry of rage against the United States' alarming new propensity to imprison perceived enemies without charges, and to pooh-pooh the anti-torture provisions of the Geneva Convention. Crafted out of blackened papier-mâché and twisted wire, a dozen raggedy figures writhed in agony in an assemblage of cages. Some still screamed their anguish, while others had already collapsed into despair.