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The dedicated producers-cum-art-collective PFFR (Vernon Chatman, John Lee, Alyson Levy and Jim Tozzi) have been at large for what seems like we wish was forever. Their nightmare visions, as realized in Wonder Showzen, Xavier: Renegade Angel, Final Flesh and The Heart She Holler, to name less than a handful, have provided the world a stream of images that amount to no less than a cautionary tale - and a lot more, for those whole like to laugh and enjoy their sense of ambiguity shaken, not stirred. As it transpires, even the drawing board is left beaten in the wake of their playful decadence, as the present monograph reveals. Covering territory that that it's taken most of the world decades - generations, even - to live through and ultimately die from, PFFR get it done in 160 breezy 'n' sleazy pages. But at what cost to art? These images come from the early aughts, when PFFR convened every Sunday to spew out new things; usually a song and a bunch of drawings. The drawings, like the music, were done exquisite corpse style, with all four group members taking their turn to either create a dream image or to foul the previous members' version, and therefore perfect, each and every piece. When taking it all in from cover to cover, the sense of completion is suprockitizing, to say the very least. The group had one foot in the art world - a foot that they found could come in handy to kick people there in the face. This intent feeds the drawings, paradoxically making them look real good on gallery walls over the years - like at 2003's An Attack On All Americans or the Tyranny Of Weed at LFL Gallery in NYC; PFFR Presents Legacy IIX, at Synchronicity Space in Los Angeles, CA and the just-happened show PFFR Legacy XXX at the Soccer Club Club in Chicago, IL - the exhibit for which this book was made. From the start, PFFR intention was to make sure whatever they did couldn't be safely co-opted by the corporations. These images here, all made around the time they were spitballing the material that was going to become Wonder Showzen, display how deeply this impulse was lodged in the DNA of their expression. For PFFR, their primary influence was really only each other - together in a room with no purpose, happily defined by their variable skillbilities and the limits of the available media (whatever pens and paper were at hand). With these drawings, PFFR sharpened their tongs so as to release as much fluid when the big grab was at hand. That's what they did too. So what are you waiting for?