Le Demoiselle de Avignon may be a revolting exploitation and sexist display by a renowned, womanizing misogynist, but it’s also a fantastic example of form, style, cubism, an illustration of the shift from art nouveau to art deco, and, frankly, a celebration of the female form. I’ve even heard it argued that it empowers sex workers, although I’ve also heard some fierce debate about that.

My point is that, when exercising the nuanced discretion of “separating the art from the artist”, the “art” in question should, at least, be of sufficient redeeming value to consider overriding the distaste for the artist in order to consider the value of the art, especially when considering the overall contributions to art (on the general sense) made by the artist in question (nobody reasonable would dare question Picasso’s contributions to the art world, for example, despite home being a contemptible person).

W. Bush, on the other hand, is no Picasso— and even Picasso, the shitbag he was, was no war criminal. And he certainly hated fascists.