Abstract
It is obvious that a criminal’s crimes affect his or her victims. It is less clear how an offender’s noncriminal actions can affect the victims of another’s crimes. But when Winnipeg, Manitoba, Canada’s Plug In Gallery, an artist-run contemporary arts space, proposed to display three paintings by executed American serial killer John Wayne Gacy,1 the potential for extension of a criminal’s abusive power by the public presentation of apparently nonviolent visual imagery became a matter of heated debate.
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© 2003 Philip C. Parnell and Stephanie C. Kane
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Brydon, A., Greenhill, P. (2003). Representations of Crime. In: Parnell, P.C., Kane, S.C. (eds) Crime’s Power. Palgrave Macmillan, New York. https://doi.org/10.1057/9781403980595_7
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DOI: https://doi.org/10.1057/9781403980595_7
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