The eightieth anniversary in 2008 of Andy Warhol’s birth provoked the exhumation of little-known material from the artist’s seemingly bottomless archives—for instance, “Other Voices, Other Rooms,” the important exhibition organized by the Moderna Museet and the Stedelijk Museum, included rarely screened videos and audio recordings among its seven-hundred-plus items. “Warhol’s Jews” was a smaller, more focused look at still more underexamined work: the artist’s controversial 1980 series of ten portraits of famous Jews from the twentieth century. The acrylic screenprints depict subjects such as

The American landscape has always been shaped by economic forces, with mining, drilling, and building integral parts of the country’s manifest destiny. Today, as foreclosures and failed businesses spread like flesh-eating bacteria, that landscape is shifting, psychically and physically, becoming blighted with vacant houses and big-box structures. Particularly timely, then, are Jake Longstreth’s nearly photorealistic paintings of anonymous, generally unpopulated built environments. Whether portraying a swimming pool, tennis court, chain-store facade, or other man-made monument, each of this