and are further demonstrated through his interest in camouflage as a way to represent the landscape through an abstract medium. This is evident in his 2016 mirror-and-glass work I dreamed a world and called it love, an immersive installation at Gladstone Gallery which was meant to call to mind an abstraction of Claude Monet's room-encompassing paintings at the Musée de l'Orangerie, Paris. During the late 1990s, artists responded to the AIDS epidemic with forms of expression ranging from the written word to abstract artistic statements reflected in anger or elegy. This movement led to iconic artwork influenced by advocacy group AIDS Coalition to Unleash Power (ACT UP). Hodges' work emerged through the direct influence of his personal experience, and through his notions of love and acceptance towards the self and those in other circumstances. A Little Extra Something In A Little Extra Something (1990–1991) Hodges covered the surface of a sheet of paper with theatrical make-up, where the paper resembled skin and the makeup showed delight in its application. This piece, according to Hodges, alluded to his own homosexuality. Saliva-transfer drawings In 1992 Hodges incorporated himself into the material of his pieces through the use of his saliva. He drew ink doodles of spider webs, clovers, chains, lines, spirals, and a matrix of dots, then blurred them with his saliva by pressing the wet images against another paper and created different printed impressions. Hodges said that by using his saliva with his materials, it revealed a "sensuous act", where his hand would draw the images and his mouth would transmit it. This expressed Hodges' empowerment, and was intended to disrupt the preconception of bodily fluids as something horrifying. Don't Be Afraid In 2004 Hodges was invited by Susan Stoops, a curator at the Worcester Art Museum, to create a mural on the museum rotunda. During this time, the U.S. government was raising concerns of public safety with a series of alerts. Responding to this and the destruction of the World Trade Center, Hodges offered the message "don't be afraid" for comfort and support to the citizens of America. He wrote a letter of invitation to all the UN delegates, incorporating their handwritten versions of this phrase to create a global chorus that conveyed a message of inclusion, strength, and optimism. Hodges had received more than one hundred translations in over seventy languages; the only country which refused to participate was