Contributed by Margaret McCann / Catherine Mulligan’s captivatingly repellant “Bad Girls Club” at Tara Downs takes irreverent aim at American culture. Creatures of habitual selfies, her satirical painted ladies contend with the pressures of appearance. They would be at home in a John Waters film, where viewing likewise shifts between distaste, amusement, and aesthetics. Mulligan frames each painting with angular, industrial-looking signage that doesn’t detract but, like Polyester’s scratch-and-sniff option, adds a contrasting layer of interest. A zombie-esque girl in Nocturne 2 peeks at us over her shoulder with an intrusive blend of seduction and complicity, a boundary violation that almost breaks the fourth wall. Her grin, like that of Chucky’s bride or Otto Dix’s “Lady in Mink,” portends the unpleasant. But unlike Dix’s fallen women, survivors in post-World War I Germany, Mulligan’s anti-heroines are vapid consumers of leisure.