Curated into layers on top of and next to each other, the paintings come to represent the feelings of being overwhelmed by the city, inspired by the city, and distracted by the city. Hudson’s pen marks interrupt the painted canvas; the artist’s city is planned, but rough. The abstract, fractured paintings, refer to the glass of the skyscrapers reflecting off one another. The paintings look into these reflections, noting that although there are differences, a willingness to be inspired by each other brings them together. Points of distraction, including portraits, break up the hard geometric lines of the paintings, granting the viewer personal, almost intimate glimpses into this deep blue world. Although Hudson’s city is marked by this one color, the installation is not enveloped by sadness or depression. As a whole, Not Red offers an optimistic, hopeful and realistic vision of Hudson’s newly adopted city.