On Monday and Tuesday nights, protests (again, some violent) drew heavy media attention, leaving no escape from the reality of more racially charged conflict around a young man's death.
There's a huge, grottolike sculpture with several video projections showing on the walls; a series of "paintings" made with smoke on oil-covered panels; and (best of all) extremely violent drawing-sculptures made by crushing a charcoal-covered wax figure against the wall.
Later that month another suffragette attacked five Bellinis, causing the Gallery to close until the start of the First World War, when the Women's Social and Political Union called for an end to violent acts drawing attention to their plight.
The violent hit drew a penalty.
News of the violent crime draws unwelcome outsiders; secrets are unearthed and old resentments stirred up.
Bold, violent deeds draw the lines and arouse ancient resentments, and are useful even if they have unsought consequences.
But this week, as the 20th anniversary of the democracy movement's violent end drew near, Mr. Liu relented.
Donald Payne, whom Thursday's report referred to as "a violent bully," drew a one-year prison term for subjecting Mr. Mousa to inhumane treatment.
And that might help explain something that has surprised HBO executives and the show's creator, Tom Fontana: the exceptionally violent series draws an audience that is almost half women.
And his dramatic, often violent acts, draw attention and reflection.
A couple weeks later, the Violent Femmes drew a hometown crowd of their own, decades after forming in the city.
