The installation is made up of found elements, the most remarkable of which is the 1959 Buick station wagon that's been flipped onto its roof. Before it was abandoned in a field on Bultman's family farm, it had been a very sharp-looking car, with all that chrome and those spectacular fins. On the bottom of the car — which is the top of the piece — Bultman has mounded up piles of prairie soil and planted it with an array of native plants. This natural element was created on-site, as the car itself needed to be tilted at a diagonal through the use of an air bladder in order to get it in the door. I couldn't be more emphatic when I say that you've got to see it to believe it.

Shifting gears considerably (pun not intended) is the nearby section devoted to some of Fisher's signature cloud paintings. Fisher, a contemporary realist, precisely records the look of the passing clouds, but with no reference to the land underneath. This gives the paintings an abstract quality; then again, clouds themselves take on abstract forms. Also noteworthy in these paintings is Fisher's incredible skill as a colorist; he perfectly captures the whites, blues and pinks that dominate the daytime skies around here.

The last of the four, Emrich, is represented by his multi-channel video installation, "Contact," which comprises a circular screen on which a found film of the moon has been projected, paired with color images of stacked videos done on miniature robot cameras depicting bees landing on flowers. The connection is clear: The bees hover and land on the plants the same way that men landed on the moon. This video installation anchored Emrich's show in the Fuse Box at the Denver Art Museum earlier this year.

"Bufalo Blanco," by Brandon Bultman, mixed materials.
"Bufalo Blanco," by Brandon Bultman, mixed materials.

I can't say enough good things about The Surface Beneath, but believe me when I point out that you won't forgive yourself if you miss seeing that bucolic Buick by Bultman. It sure beats a Rockies game.

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