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In the 1971 comedy western “Skin Game,” a chest-length-beard-wearing John Brown appears so crazed that any gains to be made when he disrupts a live slave auction are undermined by the ensuing chaos that he produces in the town.

His criticism was collected into “Notes of a Hanging Judge,” “The All-American Skin Game” and other books.

Crouch’s criticism was collected into “Notes of a Hanging Judge,” “The All-American Skin Game” and other books.

In “Skin Game” in the main space, the maverick performance artist and erstwhile sculptor Michael Mahalchick riffs on appropriation and popular culture.

For cultural critic Stanley Crouch, jazz served as a metaphor for democracy, the rejection of the limits of class and caste reflected in a music “in which improvisation declares an aesthetic rejection of the preconceptions that stifle individual and collective invention,” as he wrote in his 1995 collection, “The All-American Skin Game.”