Ramiro Gomez paints from personal experience. In 1986, he was born to undocumented Mexican immigrants in the Inland Empire area east of Los Angeles. Growing up, his mother worked as a school janitor and his father as a trucker. Beginning in 2009, Gomez worked as a live-in nanny to a Beverly Hills family and began to paint figures of women over luxury magazine spreads discarded by his employer. That two-and- a-half-year experience—one of simultaneous assimilation and alienation—has fueled much of his artistic practice since. Gomez has been painting housekeepers, pool cleaners, nannies, and gardeners at work in well-to-do homes and other Los Angeles locations since 2012; the city is an ideal subject for this work as it boasts the largest Latino population in the country. Here we see a woman pushing a large trash can down an empty block outside the recently opened Broad Museum. Gomez’s work reminds us that the manicured hedges, glassy swimming pools, and sun-drenched buildings of the Southern California landscape are often made possible by Latino and immigrant workers. The people in his paintings are always faceless “in part to suggest the way they were taken for granted and overlooked, but in part also because somehow the viewer read more into them that way; they were less threatening, more inwardlooking and as such they more readily called forth the viewer’s empathy.”