The New York curator Marvin Heiferman characterized Lewis Baltz’s landscape photography as a “topography of the emptiness of random, damaged, remote places”. The images in his 1989 series Candlestick Point from the San Francisco bay area lay bare what we'd rather not see; traces of technical land development, drainage channels, water dams. Baltz’s photographic record of the development at Candlestick Point combines sociological and analytical rigour and is strongly oriented towards the tradition of Land Art, and retrospectively pays tribute to its crucial influence on conceptual art since the 1970s.

Candlestick Point was first published in 1989 and has been unavailable for decades, other than as an expensive collectible on the secondary photobook market.