Helnwein censors nothing. Many of his early pictures, painted in Vienna when Holocaust denial was common, show children maimed by Nazi doctors, inexplicably bandaged or bleeding. His recent works are even more harrowing, capturing the psychological violence permeating our own age. For instance, in the 2007 painting Untitled (The Disasters of War 24), a boy turns a gun on a manga girl. His face is wrapped with bandages, obscuring his eyes, yet the cock of his head and the turn of his mouth evoke burgeoning cynicism. Victimhood has made the boy turn on his imagination. His powerlessness against his tormentors, whoever they are, has driven him to inflict revenge on the only figure over whom he has power, this imaginary companion who will vanish as he pulls the trigger.