to depict the communities inhabiting the electric plants’ surroundings in Texas, Alabama, Georgia, and North Carolina. The transformation of these sites into energy production resources has resulted in environmental deterioration from a maximum- profit-seeking management, in which the degrada- tion of breathable air and the contamination of drinking water menaces the survival of the human subject. Although the human subject is critical in these environmental crises, the paintings appear, like much American landscape paintings, deserted: no human subject ever appears walking towards the power plants amidst the metallic transmission structures or even in the windows of the few houses interspersed throughout these sites. One may ask, then, three questions. What kind of social space do these deserted landscapes conjure? What sort of subject do these evacuated locations both address and appeal to? What sort of human body is implied when invoking a health crisis through the evacuation of bodies in landscapes?   After extensively photographing the sites, Lindquist coats linen-stretched supports with a layer of acrylic medium mixed with coal ash from the Belews Creek Steam Station in North Carolina. Peeling apart a single photographic image, Lindquist traces patterns of light with homogeneous fields of colors, as if manually screen printing or stenciling without cut-out. The palette ranges from olive dark greens to ochres, with intermittent splashes of vibrant yellows. Seen from a certain distance, the chromatic choices comfort the observer’s eye: although with strong borders between the colors, the Smoke and Water: A Living Painting, oil on canvas, acrylic on sheetrock, 65 by 12 feet, 2016, North Carolina Museum of Art (installation view)