YOU DON'T NEED to go to a gallery to see the artwork of Shepard Fairey. On the corner of Myrtle and Polk Streets, he's mounted a six-foot black-and-white print, styled after communist Chinese propaganda, of a heroic young soldier resolutely facing the future. And on billboards throughout the city, you can find red, white, and black posters that show President George W. Bush cradling a bomb and asking, "Kiss bombs and drop babies, or was it drop bombs and kiss babies?" Fairey's artwork began and still continues as a graffiti project based on the iconic image of Andre the Giant, first using the wrestler's face in stickers claiming, "Andre the Giant has a posse" and later in works commanding viewers to "Obey." That project has reached international proportions, and, with the help of the following Fairey has gained, his work can be seen on the walls of cities throughout the world. Fairey describes his art as an experiment in phenomenology, which he defines as bringing to light that which is so taken for granted that it's obscured by its obviousness. He explores the political force of mass-produced images and their role in sustaining authoritarian power structures in modern society. In the strongest contribution to his Shooting Gallery show, "Supply and Demand," Fairey captures the energy of his graffiti by constructing a wall of repeated, layered, and torn posters reminiscent of the de facto public spaces where he often competes with advertisers for room. Along with rows of Andre the Giant pieces, the installation includes dollar bills with red stars stenciled over Washington's face; busts of Nixon, Mao, and Lenin; and two figures from Eisenhower-era advertising plugging "Giant cured me of all my obedience problems." Fairey performatively calls attention to the authoritarian force of commercial and political images by appropriating their styles for his own nonsensical ends, and by mimicking their structures in his own work. However, in the silk screens of pop stars and revolutionaries that comprise much of the remaining show, he seems to have succumbed to the hero worship he otherwise criticizes. Does he mean to deconstruct these icons too, or does he rely so much on his own idealistic position that he ends up another unreflective part of mass culture? Tues.-Fri., noon-7 p.m.; Sat., noon-5 p.m.; and by appt., 839 Larkin, S.F. (415) 931-8035. (Clark Buckner)