FOR A BOOKLET published on the occasion of the third Hairy Who exhibition in Chicago, in 1968, Karl Wirsum drew a woman whose head has been replaced by a mandala—not a groovy meditative symbol but a pulsating, agitated, electrified pattern vibrating in red, blue, yellow, and green. This must have been what the inside of Wirsum’s mind looked like: protean and always switched on. For sixty years—from his graduation from the School of the Art Institute of Chicago in 1961, through his association with the Hairy Who in the mid to late ’60s, and right up to his death on May 6—Wirsum produced a legion