Sympathetic magic—the use of a surrogate object to magically influence the person or circumstance it represents—has long been one of my favorite subjects. The Ulrich Museum of Art’s current exhibition, Bruce Conner: Somebody Else’s Prints, is an impressive collection of prints, etchings, and lithographs, a number of which Conner attributed to pseudonyms. The show inventively chronicles the artist’s use of surrogate figures for a variety of political and conceptual gains. In the exhibition are works produced during his brief time as a student at Wichita State University[1], and also during his initial years in the Bay Area at Magnolia Editions, Kaiser Graphics, and Collectors Press. The result is a mix of fine art and commercially printed work that cheekily micromanages art-historical expectation.