The installations, paintings, and drawings of Margaret Kilgallen deliberately embrace spontaneous
gestures and the hand-made. Her easy approach to painting is perhaps a result of her background
as a graffiti artist in the Bay Area, where she made line drawings on freight trains using the tag
Matokie Slaughter. Kilgallen, who died in 2001, always felt a strong tie to San Francisco: “On any
day in the Mission in San Francisco, you can see a hand-painted sign that is kind of funky, and
maybe that person, if they had money, would prefer to have had a neon sign. But I don’t prefer that.
I think it’s beautiful, what they did and that they did it themselves.”1 The two-story-high installation