National d'Art Contemporain, 1974). After moving to New York City in the early 1970s, he continued to appear in prominent surveys at the Whitney Museum and San Antonio Museum of Art, among others, while establishing a longtime relationship with New York dealer Nancy Hoffman, whose gallery has put on his solo exhibitions from 1974 to 2020. Process Eddy paints using a systematic, painstaking process he developed early in his career, exploiting what he calls his "obsessive-compulsive" temperament. He begins with multiple photographs recording a maximum of detailed visual information. After selecting a "master image," he projects it onto a canvas and maps out his composition. He then lays down three sequences of transparent underpainting in tiny (1/16") layered airbrush circles of different value: the first, in phthalocyanine green, supplies detailed image information and value structure; a burnt sienna layer distinguishes warm from cool regions and amplifies the darks; and a dioxazine purple layer further specifies the warms and cools. In the final stage, he airbrushes the full range of local colors in the same manner (often 15–25 layers), based on the chromatic structure of the underpainting rather than the actual objects photographed. He has described the result as a kind of illusion—small, abstract circles that resolve into highly representational images at a distance. Work and reception Eddy's work has been informed by wide-ranging, sometimes contradictory influences: old masters (e.g., van Eyck and Vermeer), Impressionist and Neo-Impressionist color, the analytical cubism of Braque and Picasso, Hans Hofmann, Conceptual and Minimalist critiques of Abstract Expressionism, and Pop art. His art stakes out paradoxical positions to both realism and abstraction, investigated in the context of recognizable, accessible imagery. It rejects abstract art, yet like that work, emphasizes surface and pictorial issues over imagery according to writer William Dyckes: "[Eddy] is essentially a field painter … concerned with the interactions of shapes and colors rather than with the representation of specific imagery in space." Likewise, it seems to value photographic verisimilitude, yet in fact, exceeds the camera and human eye by heightening painting attributes such as optical brilliance, tactile highlighting and multiple perspectives. Early painting cycles (1970–1989) In the early 1970s, Eddy painted several largely formal cycles involving automobiles. The first captured the reflective possibilities of chrome and high-gloss paint in large, deadpan, highly detailed images of tightly framed bumpers, headlights, grills, wheel hubs and car bodies, which critics suggest transformed ordinary things into