Lewis Baltz calls attention to the aesthetic and sociological impact of industrial development through his stark depictions of office buildings, garages, and parking lots in suburban California. In early 1975, the artist, along with Bernd and Hilla Becher, Nicholas Nixon, and several others, was part of “The New Topographics” exhibition, a show instrumental in defining a photographic approach that was detached yet implicitly questioning of humanity’s alteration of the natural landscape in the name of commerce. Devoid of human presence, Baltz’s images suggest a regimentation and sterility in industrial design that runs counter to the way that many would visualize social progress.