animate, uncanny presences and objects of contemplation beyond function (e.g., Bumper Section XIII or Ford—H & W, both 1970). According to critic Amei Wallach "they juxtapose an exuberant baroque abstraction with a modernist geometry that suggests the hyperpurity of Charles Sheeler and the American precisionists." In the "Private Parking" series (1971), Eddy depicted cars seen through chain-link fences hung with signage, using the crisscrossing patterns and abstract shapes to intensify contradictions between illusionism and the single-plane picture surface. In subsequent cycles, Eddy dissolved the corporeality and decipherability of his images by focusing on windows—initially car showrooms (the "Showroom" works, 1971–2), and later, kitchenware and shoe storefronts yielding more chaotic compositions (e.g., Pots and Pans, 1972; New Shoes for H., 1973). The window surfaces—both transparent and reflective—enabled him to focus simultaneously on two planes, something impossible in normal vision. The clash of recognizable forms, hard-edged shapes, light and cityscape resulted in what art historian Alvin Martin called "highly veristic adaptations of Cubist theory." Eddy pushed this dissolution to a maximum in late-1970s paintings depicting silverware (and later, crystal) displays on stacked glass and mirrored shelves, which he set up in his studio to explore light refraction. Critics described that cycle—stripped to an austere palette of icy blues and silvers—as inducing a "perceptual overload" where dazzling optical play and complexity reduced space and imagery to nearly unrecognizable abstract patterns (e.g., Silverware V for S, 1977; G-I, 1978). In the 1980s, Eddy decided that this work was too cerebral. He reintroduced color and a Pop dimension—in the form of quickly chosen, inexpensive toys, gumballs, and Disney characters recognized from his youth—in the "Dime Store" cycles. These paintings inaugurated dramatic evolutions in style and imagery, including a conceptual shift from perceptual issues to more profound questions regarding thought and the nature of experience. He turned from fully painted still lifes to compositions in which he intuitively selected and painted only what he deemed most compelling, yielding imagery that hovered, apparently weightless, over black voids suggesting memory or dream (e.g., C/VI/B (Mickey in a Half Moon Midnight), 1982). With the subsequent '"C/VII," "Daydreamer" and "Dreamreader" series, Eddy introduced more jarring juxtapositions of time, place, space and mood, which floated dime-store items over vistas of places he visited (Paris, Italy, Hawaii), interiors, and figures (his daughter, old-master painting personages). These series, which mix man-made and natural, fantasy, reality and mystery, point toward his more spiritual later-career