A recent billboard project in Los Angeles featured an image of a shirtless black man (the artist Kori Newkirk) on a white background, his mouth stuffed to bursting with a snowball. LA Times critic Christopher Knight observed that it looked like a ball of cotton, thus in some ways conjuring up the history of African-Americans as slaves in Antebellum cotton fields, as well as the systematic censorship of black people ever since. The naked torso, the mouth stuffed not with cotton, but a snowball, suggests something, however, a little different—the sexual practice known as snowballing, which includes a man having his semen spat back into his mouth after a blowjob, gay or straight. In his current exhibition at Country Club Projects—a boxy Rudolf Schindler house in Mid-Wilshire built in 1934—Newkirk continues to use himself as the nexus of the body politic and desire. In what might have been the living room of the house-cum-gallery, the artist layered about one hundred white t-shirts into four overlapping tiers on the black floor into a full circle with an empty center like an oculus (Mayday, 2010). Formerly worn by the artist until they began to gray and stain, the t-shirts had a second life …