The selection is arranged to show the artists’ visual affinities. Each depicts arid, dramatic vistas of the American Southwest, often using collagraphy’s ability to mix diverse textures. Ross’s “Buttes” and “Pueblo Summit” appear naturalistic from a distance, but a closer look shows their patchwork origins. Romano’s “Desert Ikon” is nearly abstract, with a complex middle section that reveals the shapes of small pieces of wood and metal.
The printmakers tend toward gently hued scenes, but a few of these works are literally darker. Romano’s delicate yet dramatically composed “Island Boats,” a pastel midday view from 1951, complements Ross’s “Brittany Harbor,” rendered in gentle nighttime hues a decade later. But his “Port” emphasizes a gray-and-black mountain that towers over the harbor, while her “Under Provincetown Pier” is primarily black beams and shadows, with lighter colors used sparingly around the edges. The print’s robust architecture exemplifies both artists’ prowess at constructing a simple