Two years after Beuys's death the Viennese artist Gottfried Helnwein created a striking and odd image bringing Breker and Beuys together. Helnwein posed the eighty-eight-year-old Breker uncomfortably holding Helnwein's portrait of Beuys in front of his chest. The older man with furrowed brow directs the glossy, skeletal image of Beuys -- like an icon painting -- away from his own gaze and toward that of the viewer. The image asserts the generational relationship between Breker and Beuys as sculptors and cultural figures and also positions Breker as a pathetic father figure making public his own confused feelings after the death of an estranged son. Breker is dressed in his white sculptor's smock, presenting the surgeon-like image he favored and that was the preferred self-presentation of sculptors, especially Breker, as respectable, trained professionals in the Third Reich, in contrast to prewar bohemians. This was an artistic self-conception and presentation that Beuys abhorred. Looking back on his "key experiences," he recounted being revolted by a sculpture professor in the early 1950s: "He approached me almost like a surgeon, wearing a white smock, with modeling tools instead of a stethoscope.... He wouls say, 'Look, you haven't got the muscle right at all,' then he would tap on the studio model, on the muscle. As if art could be built up from the muscle." In contrast to the artist as a doctor dressed for the operating theater, who takes off this sterile uniform when performing other social functions -- such as receiving awards, attending openings, or going to the theater -- Beuys practiced art itself as social theater. He costumed himself as such, in his signature many-pocketed sports vest, broad-brimmed hat, and jeans, presenting himself as a cross between a fisherman, a survivalist, a proletarian, and a clown. He was instantly recognizable and always in role.