Yet unlike Parrish, these images have not sprung from her imagination: she paints the places she has lived, invested in a political exploration of her natural landscape—not only of Superfunds, but immigrant farm workers, abandoned Navy Yards, the curated growth within gardens.

While realized in a quasi-abstract visual language of reductive forms and spare color, each painting evokes a sense of wonder at the setting moon.

Our fleeting encounters with strangers—in magazines, on the streets—leave a mark decades later.

Manet, though older by only two years, is positioned as the wiser, more formidable painter.