b'Makuuchis printmaking style was more expressionistic after he returned to the United States from Nigeria. This was partly due to the rapidity with which he was working. A clear illustration of the differences between Makuuchis pre- and post-Nigerian work can be seen by comparing impressions of My Son, My Son. This composition was initially created in Iowa in 1964 (see fig. 17) and was part of Makuuchis masters thesis. The second impression was printed in the 1980s (fig. 30). The plate sizes are different, so the later impression was clearly made from a new plate. While the compositional elements in the later print are the same, the technique and rendering make for a very different effect. The sense of tenderness and individuality present in the earlier print is absent in the re-creation: the woman and child bear rounded, generic features which are executed swiftly in arcing lines of deep drypoint. The eyes of both figures are unfocusedthe woman appears to stare blankly to the right of the viewer. The three hands remain, yet now the fist grasps a ragged bouquet, which one reviewer called the uprooted symbols, rice and wheat, of his divided heritage. 77In general, Makuuchis post-Nigerian prints are more archetypal and narrative, as opposed to the developmental work made in Iowa or the metaphysically based Madison prints. Tears under the Southern Cross, . . . mixed bloods (fig. 31) is, by Makuuchis own account, about racial coding in South America and South Africa. 78He identifies the female figure with a pile of eggs on her head as mixed race. A bird of paradise holds a milk snake that is biting her right breast, which is marked with a tattoo of the continent of Africa. A mask covers her left breast. A hovering face, reminiscent of Odilon Redons image of Saint John the Baptist, occupies the upper left corner. Below, an embryonic sac holds the different racial babies of the world. While these detailed elements may not be decipher-able without explanation, the work is arresting in the way it combines a variety of culturally specific symbols (the mask, the map, eggs, the bird of paradise, and milk snake) into an open-ended allegory. Makuuchi classified this composition as looking for strong, distilled images . . . seeking a silent center.Makuuchi also increasingly began to use animals as stand-ins for human emo-tional states. Buffalo Gal wont you come out & Play (fig. 32) was conceived as a triptych, although only the center panel survives. The image depicts a creature composed of a variety of animals from around the globe (bull, vulture, polar bear, leopard, deer, camel, giraffe, snake, and horse). Human body parts, including several faces, a torso, and a leg, are visible at the center, and a tiny nude woman (presumably the Buffalo Gal of the title) rides atop. The tenor of the work is far from playful: the animals surge toward the right in a seeming panic, and the human faces express their distress through either wild grimaces or tensely shut eyes and lips. An image of this work was reproduced in Makuuchis manuscript FIGURE \x0b Tears under the Southern Cross, . . . mixed bloods CHECKLIST #2552'