Looking at it from left to right, the viewer sees an older mustached man in a torn outfit that looks like he was a general, a naked woman sitting on a chair with floral print, and another naked woman looking to the side as if danger is approaching. All three have splatters of blood on them, contributing a grimy quality. The cuts of meat reminded me of the saying “I’m not a piece of meat” that is usually associated with feminism. The three people in the painting may feel as if they are considered as pieces of meat, simple objects, rather than unique and valued individuals. With folds of flesh compressing as their bodies lurch over, it is apparent that the bodies of the women are imperfect. They are naked, the unidealized and more realistic representation of the human body rather than nude, the idealized representation. What caught my attention was the way the woman in the middle started directly at the audience. This reminded me of the Luncheon on the Grass by Edouard Manet in 1860 where the female prostitute looks straight at the viewer. With a stern expression and hint at viewer involvement, the woman in Bermuda Lovers gazes intensely at the audience, perhaps it is a desperate cry for help, yet the onlookers, the viewers in the museum, do nothing but look back at her. In that way, the painting could be a commentary people’s lack of action toward wrongs and injustices. The…