At first glance, the three pieces that comprise Robert Longo’s Engines of State (2012–19)—The Forest (White House), The Whale (United States Capitol), and The Rock (The Supreme Court of the United States—Split)—seem to be straightforward pictures of the three buildings that represent America’s three branches of government. But a deeper look reveals Longo’s philosophy about image. Now 71, he is considered to be the face of the Picture Generation, a group of artists who interrogated how imagery can be used to push certain perspectives and agendas. What appear to be photographs of the iconic buildings are actually painstakingly rendered drawings in charcoal. The ominous black-and-white palette and the sheer size of the drawings (they are each between 12 and 40 feet wide) create an overwhelming sense of unease, forcing the question Longo has confronted his whole career: What are we seeing and why are we seeing it? —Alice Browne