and titled after Stephen Jay Gould's book of the same name, which reassessed evolutionary theory. The series replicates the detail and diversity of natural life, progressing from simple to more elaborate and sophisticated forms. However, rather than imitate results in nature, Siegel appropriated its methodology, exploring simple, cumulative changes in "evolution" (i.e., the refinement of technique) that generate form from generation to generation (work to work). Critic John Perreault noted a key difference from Siegel's nearly monochromatic newspaper works, describing the series' "garish, contrasting, almost pop colors" as "not necessarily joyous [but] both exuberant and menacing." During this time, Siegel also produced large-scale indoor installations. He created Collection (2001) for an exhibition of work responding to the Fresh Kills Landfill; The New York Times described its mountain of household rubbish—catalogued by descriptive lists provided by people who donated the items tacked on an opposite wall—as both poetry and an "impressive simulation" of a dumpsite. For Did God Make a Worm? (2005, Ingolstadt, Germany), Siegel used 9,000 pounds of donated aluminum Audi body-part rejects to create a giant, slug-like form that jutted from a wall and sprawled across and around a gallery space and its columns. Biography (2008–13) draws on elements of Siegel's intimate pieces and large installations, combining dense, intricately woven detail, diverse postconsumer materials, and an epic, undulating horizontal sweep. At 156 feet long, the mixed-media wall piece has only been viewed in large sections (of up to 100 feet) exhibited at Marlborough (2011, 2013) and the Albany Airport (2018– ) or digitally, via composite photographs. Functioning as both a geologic and personal timeline, it was constructed organically from right to left without a fixed endpoint, using Siegel's characteristic strategies of accumulation, compression and transformation. Writers have compared it in scale and density to the Abstract expressionist paintings of Jackson Pollock and the Pop assemblages of Nancy Rubins, and visually, to shifting landscape tectonics, a vast topographical map, or DNA. Artforum'''s Allese Thomson Baker wrote, "Siegel commands the detritus of our culture into a frantic rhythm, nailing contemporary anxieties about the environment to the wall. [He] may image our world out of rubbish, but the result is ravishing, glittering, and glistening in all its synthetic, inorganic wonder." Since 2013, Siegel has produced large collages and films combining photography, object-making and digital manipulation as an alternative format for his large studio work. These works employ both close-up and wide perspectives