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Got to give Jennifer Higgie Credit for calling Sorensen "post-industrial Monets." If the impressionists commented on the particularity of French light, Sorensen maybe on the peculiar liquidness of lighted night, and what had been Sorensen's illustrative starkness now sights meltdown of a visual disturbance sort, of unnatural abruptness that shorts rods and cones into afterimages, emergency light, disorientated to something representational that feels abstract.
