Rolling farms stretching to the horizon. Salt-of-the-earth farmers. Tractors sputtering to life at sunrise. These are the images one would expect to see in the Deere & Company art collection. However, the Figge Art Museum and the agricultural-machinery manufacturer have put together an exhibit that delves much deeper, into a diverse visual exploration of the natural, the mechanical, and the interplay between the two. Contrary to what one might expect given Deere's corporate identity, the show presents more than idealized visions of agrarian life; it frequently allows for artistic ambivalence about the industrialization of farming.

(Editor's note: This is part of an occasional series on the history of public art in the Quad Cities.)

In 1984, a site-specific sculpture by the internationally renowned artist Sol LeWitt (1928-2007) was installed near the south entrance of the RiverCenter on Third Street in Davenport. Titled simply Tower, this sculpture was made of four 21-foot-tall slabs of concrete bolted to a framework of steel I-beams. These slabs, made of crushed marble and silica, were cast using more than a half-mile of Styrofoam strips.

Additional works by LeWitt, Wall Drawing #405 and Two Wall Drawings, were also installed in the center's atrium at this time. Longtime LeWitt assistant Anthony Sansotta worked with area art students to make these 18-foot-long drawings. In all, roughly 30 Quad Citians helped with the installations - including art students, plasterers, carpenters, painters, cement finishers, laborers, iron workers, crane operators, truck drivers, and electricians.

Don't look for these works at the RiverCenter, however. Tower was moved to the Figge Art Museum's plaza in October 2004. The original wall drawings were removed from the RiverCenter, and Wall Drawing #405 was redrawn inside the Figge at the top of the stairway leading to the second-floor galleries. LeWitt claimed this new drawing is not a re-creation but is still the original artwork. He regarded his wall drawings as impermanent and repeatable. And his work is intentionally unemotional.

(Editor's note: This is the first in an occasional series on the history of public art in the Quad Cities.)

Standing on a ridge overlooking the Rock River, an 18-ton granite statue of Black Hawk dominates the space before the Watch Tower Lodge at the Black Hawk State Historic Site (1510 46th Avenue in Rock Island). This is near the location of the Native American village Saukenuk, the largest settlement in Illinois when it became a state in 1818. The statue's commanding presence tells us that this was a man of great importance.

It is with a laugh that Bruce Walters says, "There's no lightness in me."

Walters, a professor of art at Western Illinois University, was at Quad City Arts discussing Halloween Flight, an imposing collection comprising five distinct bodies of work employing autumnal motifs: a story of drawings from which the exhibit draws its name; selections from his Changelings series of drawings of masked people; a pair of lenticular prints (which create the illusion of motion based on the viewer's changing perspective); 15-foot-tall banner paintings under the title Sentries; and the Vultus projected video of 100 mask photographs.

His next project? A series based on the Tibetan Book of the Dead.

Walters might claim that he's obsessed with the dark imagery associated with Halloween - with its origins in the change of seasons from summer to fall, the ancient belief that spirits could enter the world of the living during this transitional period, and fall celebrations of the dead.

Yet one only needs to look at the variety of themes invoked in the work to see that Walters is more interested in exploring the fullness of the holiday than one particular aspect of it, and that it's not all darkness. The Halloween Flight story is simple, nostalgic, and quaint - Walters called it "idyllic" - using a child's vocabulary of motifs (a black cat, the moon, a graveyard, a ghost, trick-or-treaters) in evocative, lovingly detailed drawings. At the other end of the spectrum is Vultus, quietly sinister in its sequence of stark, high-contrast photos of masks, disturbing in both its vividness and inscrutable blankness. (In addition to being shown inside Quad City Arts for this exhibit - which runs through November 19 - Vultus will be projected outdoors at the Figge, Quad City Arts, and three other locations over the next few weeks.)