“Throughout his career,” writes Alex Baker in the exhibition catalog, “Barry McGee has continued to surprise and contradict expectations.” Including rarely seen early etchings, letterpress printing trays and liquor bottles painted with his trademark cast of down-and-out urban characters, constellations of vibrant op-art painted panels, animatronic taggers, and an elaborate re-creation of a cacophonous street-corner bodega, along with many new projects, this first midcareer survey of the globally influential San Francisco–based artist showcases the astonishing range of McGee's compassionate and vivacious work. McGee, who trained professionally in painting and printmaking at the San Francisco Art Institute, began sharing his work in the 1980s, not in a museum or gallery setting but on the streets of San Francisco, where he developed his skills as a graffiti artist, often using the tag name “Twist.” McGee's use of this and other monikers-such as Ray and Lydia Fong-as well as his frequent collaborations can make it difficult to precisely situate the artist's unique authorship. Using a visual vocabulary drawn from graffiti, comics, hobo art, and sign painting, McGee celebrates his Mission District neighborhood while at the same time calling attention to the harmful effects of capitalism, gentrification, and corporate control of public space. His often-humorous paintings, drawings, and prints-all wrought with extraordinary skill-push the boundaries of art: his work can seem refreshingly informal in the gallery but surprisingly elegant on the street. McGee has long viewed the city itself as a living space for art and activism, but his more recent work has brought the urban condition into the space of the gallery. Increasingly, his installation environments express the anarchic vitality of the inner-city street, incorporating overturned cars and trucks, and often spill beyond the frame of the gallery or museum.