Adriana Farmiga, in her solo show titled "44/55" at La Mama Galleria, quietly taps us on the shoulder to pay attention. 44/55 is the name of a route in upstate New York that slices through a mountain, engineered to create a shortcut. The problematic gesture of dividing the land for human convenience is at the core of Farmiga's practice, and she implements the same tactics in her work. By using imagery and materials such as plastic bags, plastic toy animals, plastic dishwashing bottles, Styrofoam packing peanuts, and wire hangers in her grouping of drawing and sculpture, Farmiga has found her language in which to comment on the decay of our resources and our egoistic interventions with land. A sculpture at the entrance of the gallery is made up of a black bucket with extended handles that attach to each side of a perfectly sliced (in half) black toy horse. The funerary black is heightened by the empty space between the horse's upper and lower body. But all is not dark. By using color in her work, Farmiga brings us into the world of the living. A drawing of a collection of liquid dishwashing bottles form a family tree and are animated by flesh tones and ruby reds, which pick up the red in the checkered tablecloth in a drawing nearby. A green container filled with green clothes clips sits atop the tablecloth and picks up the green of the Styrofoam peanuts contained in the sculpture in the middle of the gallery.

This configuration makes a diagonal connection with the green-colored swatch-cum-car-freshener, which hangs from a car door mirror that is screwed into the wall.
In an Ed Ruscha-ian style, Farmiga has observed that while driving, that which gets smaller and increasingly insignificant is literally becoming obsolete. Sadly, objects in the mirror seem to be getting further away than they appear.