Our collective memory has a way of distorting the past - especially when it comes to something as mythologized as the American West. Stories become symbols, symbols become stereotypes, and over time, truth becomes entangled with fantasy. For artists working with a subject so steeped in lore, completely rejecting that mythology can feel just as false as embracing it uncritically. At some point, the myth must be acknowledged - not to replicate it, but to engage with it thoughtfully: to question it, bend it, or even let it haunt the work.

This collection embodies that approach. It feels familiar at first glance, yet reveals deeper complexities upon closer inspection.

Archives are repositories of memory - records of time, place, and culture. They preserve evidence of what was, what existed, and what someone deemed worth keeping. They also reflect both personal and collective memory. But who contributes to an archive? Who decides what belongs? These questions matter.

Many Americans grew up with images of gunslingers, creaking saloon doors swinging,  covered wagons, and dust storms. These images have been reinforced ad naseum with scenes from popular media like Back to the Future III, Walker, Texas Ranger, and roles played by Clint Eastwood and John Wayne. Traveling in the American West, one may be struck by its vastness and layered histories - by ancient petroglyphs, iconic landmarks, open landscape - chasing that elusive desert mirage where light bends in the heat.

Even that is a romanticized take - one version of many. The West is far more complex than any single narrative suggests. This curated collection of contemporary art approaches the region from multiple perspectives, breathing life into stories often left untold, while also confronting the ones we think we know. Together, these works offer a richer, more nuanced account of this storied region.

— Disparate projects ; Lisa Beard, Micah McCoy, and Vann Thomas Powell