Nate Lowman's "Map" paintings are a distinctive series that began in 2013, showcasing his ability to blend abstraction, political commentary, and appropriation art. These works utilize fragments of studio drop-cloth cut into the shapes of individual U.S. states, which are then sewn together and stretched over canvas supports. This process creates a fragmented yet cohesive map of the United States, highlighting the arbitrary nature of borders and the fluidity of national identity (Gagosian) (Artmap).

Lowman's Map paintings are notable for their gritty, gestural quality, achieved through the use of oil, alkyd, latex, and various found materials. The use of drop-cloths, traditionally used to protect surfaces during painting, adds a layer of history and labor to the works, emphasizing the artist's engagement with both process and concept. These paintings are not just visual representations of geographic boundaries but also commentaries on the socio-political implications of map-making and territorial demarcation (Gagosian) (David Zwirner).

The Maps series reflects Lowman's broader artistic concerns with the instability of cultural and national constructs. By serializing the map and incorporating erratic splatters and stains, Lowman destabilizes the notion of a fixed, immutable country. His work suggests that borders are constantly in flux, shaped by historical, political, and social forces. This perspective is particularly resonant in the context of contemporary debates over national identity and immigration (Gagosian) (Artmap).

Exhibited at prestigious venues such as Gagosian Gallery, the Maps series has garnered significant attention for its innovative approach and critical depth. Lowman's use of the drop-cloth material, combined with the meticulous assembly of the individual states, creates a powerful visual and conceptual impact, inviting viewers to reconsider their perceptions of national boundaries and the constructed nature of maps (Gagosian) (David Zwirner).

Nate Lowman's Map paintings stand as a testament to his ability to merge form and content, using the medium of painting to explore complex ideas about identity, territory, and the mutable nature of political geography.