Inkjet and paint on canvas. Taking their cue from his Middle of the Day photographs, Miller's new paintings juxtapose geometric, brown impasto shapes with images of public space. Miller’s use of this color, burnt sienna, has become a signature trope in his oeuvre—"a trademark that no one wanted, a repugnant trademark." These relief surfaces compete with the photographic images. The point of view oscillates between surface and background. They begin to act as barricades, obfuscating the digital image with a superimposed barrier.