But the current MoMA installation, called "Landscape/Typology," introduces a little-known aspect of the Bechers' work: big, panoramic landscapes in which the anonymous buildings they usually capture in isolation and then group, by type, in three-by-three grids or in other comparative arrays—blasting furnaces, gas tanks, and the like—are rendered in their original factory complexes, complete with towns, workers' houses, surrounding hills and valleys, junkyards, and cemeteries. Some of the plants, like this one from the Ruhr region, are still in operation, with steam rising from the cooling towers; others are just as clearly abandoned. While these landscapes are in certain ways more traditional and even pictorial than the "typologies," exuding melancholy for a vanishing industrial world that recalls work by Walker Evans or W. Eugene Smith, they help us to see just how arresting, and even revolutionary, the typological series really are.