Andreas Fischer’s current project consists of two bodies of work: a group of ghostly portraits and an assortment of imagined landscapes that all evoke the province of the 19th-century American West. The portraits reference human histories forgotten. Instead of naming the sitters in these paintings, Fischer underscores the distance between their images and their long-forgotten narratives by giving the paintings all the same title, Sunday Best. Because the subjects are rendered anonymous, Fischer’s variety of paint application and somber palette provide substance to these poignant and mottled figures. Similarly, the landscapes are all titled Original Location, divorcing the pictures from specific historical events and instead depicting nature reclaimed. As complements to the portraits, Fischer’s landscapes furnish settings for the figures and their bygone grandiose visions for the American West.