Near Trinidad

Barrow began working on the series "Cancellations" after moving away from Rochester, New York, to Albuquerque in late 1972. His ordinary looking views intentionally thwart the expectation that photographs should capture a spectacular vista or significant location. Also adopting this "deadpan" style in the late 1960s and early 1970s were photographers Lewis Baltz, Bernd and Hilla Becher, and Ed Ruscha, who created multiple images of commonplace and utilitarian American spaces, rather than its landmarks. Barrow takes things a step further by inscribing an "X" across the face of his images, a bold gesture that shifts our attention from looking into the scene to the surface of the print, a flat piece of paper. The "X" carries a variety of cultural meanings, from the idea of cancellation, referred to in the series title, to standing as a legal signature. This untidy, disfiguring gesture can also be seen as a critique of the tradition of unmanipulated, purist photography and the growing mid-century market for fine prints. Ultimately, Barrow does not steer the viewer toward a single interpretation but leaves them pondering the ambiguities.