It has been accurately (but insistently) pointed out through the book and publicity that when the next presidential portrait is installed following the next retirement, it will represent a dramatic change: Our fine Shirley has something special that the 33 Dead White Guys, uh, don't.
The T-shirts display the grip of conformity from one generation to the next: familiar portraits of Che Guevara, John Lennon, Bob Marley, Mao Zedong, Kurt Cobain and an American Indian chief.
For example, he describes on one page how it "sucks to be poor", and on the next sketches portraits of his parents as they might have been if someone had paid attention to their dreams.
By the next afternoon, the portrait was being wrapped around the brick façade.
From the Cole canvases you can look through the next gallery (Gilbert Stuart portraits, presidential and not, with the not being better), to a gallery dominated by Copley's overblown "Watson and the Shark".
I had been picked up by Der Spiegel and spent the next day taking portraits and following some of the more peaceful protests.
The next day, a fuller portrait emerged: the campus police had spotted unusual activity on a surveillance video while checking on another matter.
