As this show demonstrated, Howard Arkley, Robert Rooney, and Edward Ruscha have been working through the paradoxical forms of the (sub)urban abyss for well over twenty years. These artists not only took the demon out of suburbia but, less obviously, made the familiar into something more than Pop defamiliarization achieved through repetition. The quality of emptiness in Rooney’s 19 deliberately clumsy conceptual-minimal photographs of a friend’s car parked in randomly selected locations, Holden Park 1 & 2, 1970, is also evident in Ruscha’s Twenty Six Gasoline Stations, 1962. This quality is the