<div>Rising young LA artist Ramiro Gomez—born in 1986 in San Bernardino, California, to undocumented Mexican immigrant parents—bridges the divide between the wealthy and their usually invisible domestic help (the nannies, gardeners, housecleaners, and others who make their lifestyles possible). By inserting images of these workers into sly pastiches of iconic David Hockney paintings, subtly doctoring glossy magazine ads, and subversively slotting life-size painted cardboard cutouts into real-life situations, Gomez provides thought-provoking social commentary on class divisions.<br>&nbsp;<br>In a deceptively gentle and entertaining essay, Lawrence Weschler engages with Gomez and his work, teasing out threads of meaning and feeling. It’s a fascinating journey for anyone troubled by questions of social equity, the chasms between cultures and classes, and the purposes and possibilities of art.</div>