IN A RICKETY WOOD-FRAME BUILDING near Eureka, California, along a slough that leads to Humboldt Bay, there is a self-portrait by Martin Wong. He left it unfinished a quick acrylic underpainting in shades of blue. It shows the artist cross-legged and palms open, some contours so faint they disappear into the canvas. The painting’s surface is slightly buckled from exposure to the fog that rolls over the region, rusting metal, peeling away house paint, and activating blooms of mold. Its slight weathering makes it appear at home among the other relics (retired buoys, milk-stand signs) that a local
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