restricted palette turns the layered depiction into an appre- hensible whole. Lindquist’s extensive use of greens and their suggestion of a certain vegetal exuberance extend the pos- sibility for a viewer’s reconciliation with irretrievable forms of nature. But the closer the viewer gets, and the more time she spends looking, the more this promise appears unfulfillable. Further observation of these seemingly natural environments reveals how the color palette camouflages and soothes the presence of technologies very much involved in the destruc- tion of these spaces: green factories, grey smokestacks, yellow transmission towers… To a detailed inspection, the homogeneity of the colored surfaces breaks and dissolves into a grained sandpaper texture, revealing the coal ash coating.   While first providing a pleasurable visual experience, the highly toxic coal ash renders these paintings incompatible with the human body. This gesture, almost a phenomenological quotation of the experience of those living nearby the electric plants, places the gallery viewer’s body in direct relation to the health crisis suffered by the members of these communities. The grey coal surface of the canvas lightly dims the palette of yellows and greens with one exception: some details in these landscapes are depicted in a so-called “Indian Yellow Green Lake Extra” pigment, which significantly stands out and appears seductively fluorescent.   The contradiction between the visual appeal and the ethical repulsion from taking pleasure in the depiction of a public health emergency may be equated to the biologic process of aposematic WA Parish Generating Station, Thompsons, Texas, August 14, 2017