Yes, like the White Rabbit in “Alice in Wonderland,” I’m late [insert your own Henny Youngman type joke involving a young girl, a “rabbit test,” and being late: here].

If you’ve been here before, you know how this works—click on the black and white cartoons to see ’em larger, and read more about ’em. I’m far too distracted to regale you with more prose, or else this might not have gone up until some time in March.

Instead, I’ll leave you with information about this month’s background image:

“On November 26, 1965, [Joseph] Beuys put the hare into the leading role in an Action. The title: How to Explain Pictures to a Dead Hare. The place: Galerie Alfred Schmela, in Düsseldorf, a gallery that had committed itself early and strongly to Beuys and had done a great deal to promote his reputation. Beuys sat on a chair in one corner of the gallery, next to the entrance. He had poured honey over his head, to which he had then affixed fifty dollars worth of gold leaf. In his arms he cradled a dead hare, which he looked at steadfastly. Then he stood up, walked around the room holding the dead hare in his arms, and held it up close to the pictures on the walls; he seemed to be talking to it. Sometimes he broke off his tour and, still holding the dead creature, stepped over a withered fir tree that lay in the middle of the gallery. All this was done with indescribable tenderness and great concentration.’

—Heiner Stachelhaus, Joseph Beuys, Abbeville Press, New York, 1987, (Translated by David Britt), p. 135.

“Indescribable” tenderness? That just seems like lazy writing to me (uh, “me” the guy who just cut and pasted the chunk of text from another site)... I’ll shut my indescribably tender mouth now and thank you for reading.

Hummingly,