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For example, Inka Essenhigh’s Deluge, 1998, might generate a different set of interpretations if included in Fresh: Abstraction or Fresh: Figure, rather than in a section devoted to landscape. One might focus on its relationship to the history of gestural painting or the increased development of hybrid forms, like cyborgs, that act as stand-ins for the body, rather than think about how the slick work re-envisions our view of nature in a technological age.
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