New York-based Uruguayan artist Marco Maggi (born in 1957) is known for his extremely labor-intensive works, such as Landmark, a pencil drawing on clayboard made in 2007. From a distance, a viewer might think she sees an aerial view of a landscape or perhaps a map. Yet up close, one finds only tiny, intricate shapes that appear to be symbols, but they do not correlate with a known meaning-making system. The shapes could be a code, a map, or something else entirely. The amount of detail in Landmark is intentionally overwhelming. The artist has compared it to news constantly streaming through mass media in such proliferation that we are unable to process it. Or, as Maggi has described it, “we are condemned to know more and understand less.”