In the late nineties, the artist Marilyn Minter was in exile. After a sexually explicit show called “Porn Grid” upset critics, several galleries dropped her. She turned to painting images of things that she knew existed but had never seen represented in art: a glitter-encrusted glam-rock eye, girls’ mouths with lustrous red lips and food stuck in their teeth. While she painted, the Clinton-impeachment hearings played on the radio. “I listened to every minute of it,” she said the other day. “I was thinking to myself, If I was her, I would have fucked his brains out.”

Minter, who is seventy-seven, with reddish-purple hair and glinting blue eyes, was sitting on a folding chair in the middle of the art gallery Regen Projects, in Hollywood, surrounded by a newly installed group of her realisti

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