Downstairs, 16 gouaches on paper refer to art history and remind of Matisse cut-out forms. They address contemporary issues, including immigration and police brutality, from both a personal and political perspective. The several gouaches entitled Ancestor I, II and III are homages to Musson’s “elders”: his aunt Delphine, his grandfather Henry, and his grandmother Mavis. “As the child of immigrants, I wanted to connect myself to a larger history of people making journeys to places where their children could have more opportunity, which is an experience I do not take lightly, or for granted.” In the Dialectic suite, the artist telegraphs the world’s endless penchant for violence, from police brutality and mass shootings in the U.S.A. to the rising tensions with North Korea and the spread of terrorist attacks in Europe. Addressing historical references in Odalisque’s Refusal the artist depicts a scene of fight between oppressor and oppressed. The Rape of the Sabines makes reference to the Roman mythology episode in which men of Rome committed a mass abduction of young women from the neighboring tribes. On a lighter side, in The Center of the Universe, Musson pays tribute to both Courbet’s Origin of the World and Duchamp’s Étant Donnés. The ambiguous figure in Someone I Don’t Know Yet mixes identities of a traditional Daruma Japanese doll with an African masked figure.