We cannot see Helnwein's giant airbrushed portraits of young girls without thinking of Freud's insistance that children have real sexual lives, at least psychologically.
When Helnwein paints "Epiphany II (Adoration of the Shepherds)" (1998), the reference to Christianity could hardly be more blasphemous. In blue-gray monochrome, he shows a Master Race Nativity, a half clad mother and naked child being admired by a group of Nazi soldiers.
"Untitled (Blue monochrome, child with gun)" (1998) brings to mind the candlelighted religious pictures of Georges de La Tour, only here the light spills from an open refrigerator door into which a little girl wincingly aims an automatic pistol.
Helnwein tries to tear the veil of denial away from our ordinary consciousness of life, to let the relentless horror of our century show through. Whether his work is a counterthrust or a contribution to the evil that he cannot ignore is the question that no viewer can escape.