The painters participating in Poetics of Landscape come from starkly distinct geographical backgrounds and frames of reference: Campins from the quintessentially Caribbean crucible of Havana; Eriksson from remote, lakeside, pine-forested Sweden; and Rheingantz from the rural and urban dichotomy that characterizes her native Brazil. All, however, have developed practices based on depictions of their “environments” in an expanded sense — depictions that combine in varying degrees figuration and abstraction, the real and the imaginary, the built and the unbuilt, the utopic and the dystopic.