Abstract
Robert Adams established his reputation in the burgeoning Front Range suburbs of Colorado, yet, during that same period, 1965–1975, he was photographing traditional communities in the eastern Great Plains and the Hispanic counties in the southernmost part of the state. This less studied set of images complements the other, more familiar body of work. In the white churches and adobe structures he saw history, values and relationships that were being lost in suburban developments. In both settings he photographed life that persisted in ruin.
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