b'a practice and sustain a career, affording important opportunities while also answering the day-to-day concerns of working artists. The artists gathered in these three cohorts of fellows (201416) evidence the rich and nuanced field of visual and cultural production in this region. While there are works in this show that suggest a connection to context and place, making specific reference to the landscape and built environment of the state, as well as abstractly drawing on its atmospherics, this exhibition more readily illuminates the incredible breadth of conceptual and formal approaches that define our globalized art world. Whether through the directness of drawing, painting, and printmaking; interventions into documents, images, architecture, and objects; or engagement with audience, each of the works here makes an insis-tent claim for self-expression, for an impulse to communicate and connect. The works emerge from wide-ranging art historical trajectories and assess different subjects. Yet a unifying subtext of time and the ways in which we pass through and mark it, particularly via drawing, and an engagement with history, its stories and images, is visible throughout the objects here. While it is not possible to articulate a theme within the exhibition, or amongst this diverse group of artists, they each create objects that extend beyond themselves and illuminate the critical and personal stakes of artistic practice in uncertain times.The space of language, collectivity, sentiment, accumulation, and subjectivity that defines Guths What Needs to Be Said resonates broadly with this group of artists. A number of works in this exhibition are serial; they employ similar formats and mediums across individual objects to explore what we might think of as variations on a theme. Each artist has distinct motivations for working in this wayand it is a common way for artists to workbut taken together this mode has a particular relationship to a sense of time, to the iterative nature of creation, and often to the immediacy of the artists body and thought process. Samantha Walls 31 Days (December), a series of daily drawings the artist made at the end of 2017 that depict a raised fist in black ink, overtly indexes time and the body and sets a tone through which we might read the works of other artists included in this exhibition. In a calendar of drawings, Wall has made this most defiant of gestures into an offering and an invocation. This sign of public resistance is both charged and made personal by the devotional act of repetition and everyday ritualit is a stark claim of I am here in a moment when identity and self are threatened with erosion. Lynne Woods Turners Twenty-one untitled drawings (2013) are lyrical geometric abstractions defined by their scale, meticulousness, and inventive but compressed formal language. Her images suggest a literalization of the notion of practice, each drawing a revised meditation on the last, unfolding like a private, iconic alphabet of 16'