This painting embodies much of the spirit of Maoism, as it should, since Daqing was the great emblem of late Maoism, the great spirit that all other leading sectors of the economy should follow. So what was this spirit? As this image makes clear, it was polution aestheticized. It was the noxious area not as a harmful substances, but as a beauftiful manifestation of the nation’s unrestrained nation. Liberated from the bounds of agricultural society, the nation could rise up into the sky and spread exhaust, completely erasing agriculture as the necessary condition of its possibility.