Keith Jacobshagen's Nebraska landscapes represent rural life and wide-open spaces. His studio compositions are based upon small plein air works. Low horizon lines increase the feeling of breadth and open air. The images are filled with particulars and universals, a small brushfire or mailbox or flock of crows set against a spectacular sunset. Jacobshagen frequently annotates his works in the lower margin with time of day or weather conditions or even autobiographical phrases to lend a sense of specificity to the landscape.

This print commemorates the fatal shooting in 1997 of Esequiel Hernandez, Jr., an eighteen-year-old Mexican-American who was shot by U.S. marines outside of Redford, Texas near the Mexican border while he was herding his family's goats. Unknown to Esequiel or any citizens of Redford, four marines had been camped along the Rio Grande for three days. They mistook Hernandez for a drug smuggler. Jiménez has portrayed Hernandez in the classic pose of Christ, the Good Shepherd, replacing Christ's traditional halo with a rifle's scope sighting.

Richard Johnson's abstract paintings have always been about juxtapositions, about explosions of jagged masses next to crisply masked streaks of color both above smoky, air-brushed shadows. An interest in the ancient technique of trompe l'oeil (fool the eye) painting allows Johnson to layer hyperrealist mechanical imagery (resembling welded steel pipes) and "crumpled paper" with abstract expressionist splatters. Johnson, a long time professor of painting at the University of New Orleans, studied at the American Academy in Rome to gain an understanding of the Old Masters. His debt to the tradition of illusionist painting is as evident as his interest in contemporary collage and assemblage.