Imagining herself as the last painter on earth, and Frank as the last subject (and audience), Dana Schutz’s Frank series explores the power relationships of artist/subject/viewer as a witty (if not sadomasochistic) ménage à trois. Dana Schutz paints her protagonist over and over again, like a sad calendar pin-up, ruefully exploited in different poses and settings. In Frank on the Beach, she has him play sex-kitten, sprawled like a second-rate rent boy in the muddy surf at sunset.