The post-post parallel universe of Adam Cullen's paintings is mired in a pop culture where political correctness is well and truly dead. His women are all bikini clad and seem to be modelled on stills from old Bond movies. In these paintings, there's no middle ground between being a machete-wielding harpy or a helpless buxom wench, bound and gagged. In The Horror She was Unleashing, a testosterone-fuelled babe wrestles with a shark; Cullen's women oscillate wildly between having too much agency or none at all. And the men don't fare much better. In fact, Cullen's men are behaving very badly.