M Christy's World of Action was a series of 137 paintings exploring the themes of mythology and friendship, as well as the more conceptually-driven concerns of using narrative as a vehicle for abstraction, and using paintings to activate an entire gallery space. The paintings ranged from very small (8"x10") to very large (6'x8'), and their paint-handling reflected the artist's interest in the "low-fi revolution", a reaction to the slickness of 80s art and especially music, which M Christy felt diminished emotional sincerity. In this narrative, clones liberate trailer parks and the Virgin Mary from dinosaurs, use their lightsabers to slay a Jesus imposter, venture into the Genesis cave, and at least one of them ultimately must confront the question, "What if you realize that you are the bad guy?"
Jesus Chrysler was curated by Christopher Chiappa for CRG gallery in NY. M Christy's pieces for this show were God, Seashore, A Useless Flap of Skin, and Sad Friends. These pieces were mainly concerned with a critique of male sexuality and the ego of the artist, as well as an exploration of the power issues that arise from a hegemonically-creative mindset.
Advent of the Foreign Prince was an installation that picked up with the idea of creating an oblique narrative through a presentation that referenced sequential art such as comics. It was an opportunity to create an installation of paintings in the context of a massive gallery space mainly devoted to large-scale sculptural installation. This exciting interplay of 2-D painting installation and 3-D sculptural installation was curated by Elaine Parks and Helen Van der Neer.
"Ocean Adventure" was an early attempt at using narrative as a vehicle for abstraction by presenting paintings in a comic-book style format. This large installation was a precursor to the "M Christy's World of Action" and "Advent of the Foreign Prince" installations. It incorporated extensive writing between and on the images, a practice which was used in "World of Action" to a lesser degree. By the time of the "Advent of the Foreign Prince" installation, writing had been confined to the exhibition title sheet, with the artist preferring to rely exclusively on pictorial narrative devices.