Landers’ aborted-before-conceived humor is continually resuscitated by the artist’s writings - here etched in the paintings themselves at the bottom of the ocean - imbuing a pathos into the not quite fully gestated juvenalia, asking to be excused for mistakes made in teenage exuberance of dealing with art in the eternal sense, becoming all so stupid and pathetic as to become endearing, like all John Candy’s exasperatingly aloof characters who in the film/gallery's third act find him asking directly and pathetically for forgiveness to found-families for the idotic-yet-winning obliviousness, as a whale wearing flannel about to go down, here an Uncle Buck kept on life-support to achieve immortality as a joke.