It seems as though for the past few years Steven Criqui's goal has been to become the quintessential Los Angeles painter for the new millennium. If that sounds like a grandiose, even arrogant endeavor, it does seem to be going somewhere. I don't mean to suggest he is looking to win some sort of imagined contest, but rather that his project is at once a consideration of current languages and technologies in painting, photography, and digital imaging and an extended examination of the sorts of shapes, colors, images, events, and locations that define Los Angeles. The results—ranging from