coloration. Some animal species like tropical fishes or frogs alert predators of their deadly consumption through strong appealing coloration: these signs attract the predators, yet at recognition of these bodily marks they then refuse to hunt the prey. In Lindquist’s works, the more seduced the viewer feels by the painted land- scapes, the more these sites of electricity production present their incompatibility with the viewer and, by extension, the human body. The evacuated landscape in these paintings attracts and projects us into a fantasy of nature. At the same time, this transformation of the natural with severe, pernicious effects for human health negates all possibility of an unproblem- atic coexistence with the human body. The industrial, economic, and social networks articulated in the spaces depicted—further embodied in such infrastructural elements as transmission towers for the distribution of electricity—extend to the gallery viewer, involving them as an energy consumer.   Ultimately, through a series of contradictory ethical and aesthetic operations, Lindquist’s production contributes to the series of artistic interventions, which attest to the inseparability of the aesthetic, the social, and the ideological in art. Lluís Alexandre Casanovas Blanco is a New York and Barcelona based architect, curator and scholar. He was the chief curator of the Oslo Architec- ture Triennale 2016 together with the After Belonging Agency, and he is currently a PhD Candidate at Princeton University, and a Critical Studies Helena Rubinstein Fellow 2017–18 at the Whitney Independent Study Program. James H. Miller Jr. Electric Generating Plant, West Jefferson, Alabama, August 15, 2017