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Often resembling the ornate, mystical, or folkloric imagery of the art-historical canon, Genevieve Goffman’s work incorporates scenes of historical calamities, cultural regressions, and forgotten wars that ultimately confuse this trajectory. The state house construction similarly depicts this fascination with world-building, and the naivete within the notion of our City upon a Hill, a wry confrontation with the political blunders of imperial fanatics, traditional bureaucrats, and radical idealists alike.

Many of Goffman’s aesthetic allusions reference both the piquant visual appeal of …