To look at the eleven paintings in Lyndell Brown and Charles Green’s exhibition “The Last Cool Skies” was to behold only the most recent pages from the duo’s much vaster atlas of paintings and photographs, which they have been assembling since their beginning to collaborate more than thirty years ago. Like all their work, these new paintings announce themselves as fragments—each a hyperrealist composite of smaller images, including tree-lined roads, rocky outcrops, a mandala, historical photographs, art-historical references, and a spread from a children’s book. Each painting is a metonym for