Despite the centuries separating Michelangelo and Cara Judea Alhadeff, they still have something in common. Not only are they artists, but many pieces of their work have faced restrictions based on their content.

Like the Italian master, Alhadeff (senior-corporeal politics) has won recognition for her images, but she has also had to deal with another tribulation -- censorship.

But more than eight months after her work was taken down in Pattee, her second exhibit since that incident -- a five-photo exhibit, "Disarticulated Membranes," -- is on display in Pattee's Lending Service Gallery.

Last May, five photos from Alhadeff's exhibit were removed from Pattee, even though they had already been approved through a review process, Alhadeff said. This happened after several library employees refused to come to work because they found her exhibit offensive.

Alhadeff said her censored photography could have been interpreted into many things and found the whole situation amusing and predictable.

"I thought (the censorship) was expected," Alhadeff said. "They're such beautiful images, I wanted them to be seen."

Jennifer Olson (graduate-art education), Pattee's exhibition coordinator who is responsible for reviewing photos that are to be displayed, refused to comment on the removal of Alhadeff's work.

Other Pattee officials did not agree with Alhadeff's claim that her art was restricted.

"(Alhadeff's work) wasn't censored. While we were hanging the show, we found that some photos were inappropriate and we didn't hang them up," said Bonnie MacEwan, Pattee's collection development coordinator.

Pattee is a place for books and the gallery where Alhadeff's work is displayed is a hallway people walk through, MacEwan said.

However, Pattee continues to display Alhadeff's work. Only this time, the criteria for the review process is more specific about what can and can not be shown. Except for matters relating to the exhibits she submits, Alhadeff and Pattee "haven't had any relation," said Alhadeff, adding that Olson has been very supportive.

Four more photos that were supposed to be in the exhibit were declined after Alhadeff was asked to describe them. A photo showing bloody pads and another with part of a breast showing were refused, Alhadeff said.

One of the photos accepted shows the back of a shaved head with beetles crawling on it, while others contain images of rocks, blue latex and even an ear with dental floss.

"They're weird -- they're different," said Amy Fitzgibbons (junior-psychology).

The beetles crawling on the ears and head make that photo in the exhibit unusual, Fitzgibbons said. But not all people thought the pictures were strange.

"I like them -- I like the arrangement, the objects, everyday objects -- well not exactly everyday objects. It's really human -- interesting. They're on a good side of good taste, really interesting," said Andrew Stock (sophomore-architecture).

Alhadeff's work has also been displayed in the Zoller and HUB galleries. She also recently won first place for three slides titled "Matter Adheres to Matter" that she submitted to the "International Erotic Art Expo" at the Griffin Gallery in Miami Beach, Fla.