The show didn't sell especially well, but after More Love and The Wages of Sin debuted in that year's Whitney Biennial it never left.

WSJ: Mike Kelley: The Escape Artist

He hung this on the wall next to The Wages of Sin, a pedestal table dripping with candles in rainbow hues, as though audiences were standing before a holy shrine at mass, a nod to his Catholic upbringing.

WSJ: Mike Kelley: The Escape Artist