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By DANIEL BARBIERO
Rappahannock Newt Contributing Writer
(Editor’s Note: Mr. Barbiero is an urban art critic, frequently published in Washington, D.C.’s “New Art Examiner.’’)
The road trip from Washington, D.C., to Washington, Virginia, is one that can seem like a trip measured in years rather than miles. One begins amid the peculiarly contemporary aggressive urban congestion inside the Beltway, moves out and backward to the sanity-restoring spaces of points west. Outside of Arlington the stretch of Route 66 running to Warrenton captures the spirit and the architecture of the hopeful postwar suburban sprawl, the frugal glitter of low-built fast . food restaurants, the vinyl and neon ' iconography of Wendy’s and Denny’s and Bob’s Big Boy, enthroned in secular roadside shrines close by the drive-thru window. Finally, along Route 211 West, there is the prewar landscape of roadhouses and outbuildings, of animals on open land and farm equipment on front lawns, of beauty that is determined as much by usefulness as by appearances.
But I’ve come to look at art, not jto praise landscape. Still, while viewing Middle Street Gallery’s “Gallery Artists and Friends” show, one can’t help but think of the surrounding rural landscape. Because this show seems to reflect an aware
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