b'From Lake Minidoka to Lake Mendota and Back to the Northwest Sea in the section called Apocalyptics of the Millennium, further underscoring this reading of intense emotional states. Makuuchis time in Nigeria also contributed to a broadening of his world view. Until the late 1970s he had primarily spent time in academic environments, mostly in the Midwest. While these communities provided intellectual stimulation from a wide variety of people, the opportunity to live and work in another country changed his perspective. While in Nigeria Makuuchi was able to travel interna-tionally for the first time: a steady income and regular employment meant that he could return to Madison to visit the Balkins as well as visit both Europe and Japan. In addition to his time in Europe after leaving Nigeria in 1983, he also traveled with his son to Madrid in 1979, continuing on to Greece and Japan. 79Through these experiences as well as his seven years in Nigeria, Makuuchi returned to the United States with a renewed vision of himself as part of an international community, both as an artist and as a person who had struggled with the question of identity. In order to continue to broaden his world view, he audited at least one course per year at the University of Wisconsin after returning to Madison, including Women in the Arts, Race and Ethnic Relations, Contemporary African Art, Arts of China, and Introduction to Asian Studies. This new sense of global interconnectedness returned Makuuchis attention toFIGURE \x0b\x0c Buffalo Gal wont you come out & Play. CHECKLIST #23the threat of atomic weapons. In addition to his early work on the subject, such as H Maidens (fig. 13), he had begun exploring the implications of nuclear conflict as early as 1977. While in the United States between his appointments atreused old plates for these works, exploiting the scratches and scuff marks as Adeyemi and the University of Ife, he visited the Hiroshima/Nagasaki Memorialpart of the roughened texture.Collection at Wilmington College in Wilmington, Ohio. This repository of docu-ments related to the experience of Japanese people affected by the blasts wasFractrealization of Oppenheimer (fig. 49, p. 123) depicts a centralized orb being assembled by the Anglo American anti-nuclear/peace activist Barbara Leonardlifted from below with great energy and positioned in front of a diamond-Reynolds (19141990). Reynolds wrote an endorsement of Makuuchis propos- patterned lattice background. In the lower right corner, the artist has written in al for a monument for the World Friendship Center in Hiroshima, founded bythe plate (so that it prints backwards): dont ever beat the Sun the Sun will Reynolds in 1965 as a place where people around the world could meet to learnalways beat you, a clear warning against meddling with natural forces. The title firsthand from survivors. Makuuchis proposal for the monument consistedis also telling: a fractal is a mathematical term for a specific type of never-of a series of concentric circles, symbolizing the ripple effect of the blast, sur- ending pattern, and here Makuuchi has merged this noun with realization, mounted by a folded paper crane, a symbol of peace. Although this monumentthe act of becoming fully aware. Oppenheimer refers to the American physicist was never realized, Makuuchi eventually produced a series of prints and poemsJ. Robert Oppenheimer, who is often credited with playing a key role in the on the subject. 80Makuuchis bomb-related prints are unusual in that they usedevelopment of the atomic bombs dropped on Hiroshima and Nagasaki. Oppen-more etching than is typical in his work. The corrosive nature of acid seems anheimer had mixed feelings about his involvement in the creation of the bomb, apt material to use for work on the subject, and Makuuchi used the direct appli- believing that the destruction could have been averted through better diplomacy. cation of acid (a technique commonly known as spit bite) to impart a burnedThe tendency toward nuclear proliferation and its terrible potential is a pattern and blasted texture to selected areas of the prints. It is possible that Makuuchithat continues to repeat.54 55'