The exhibition features works made over the last year and a half in a rural cattle-ranching community in Central California. Herzog uses disparate mediums and formats in the show in order to present a layered narrative responding to issues and materials defining the current political and commercial landscape, including a painting depicting the package design of the new McDonald's "Beyond Beef" burger and a voting booth soft sculpture. Issues surrounding copyright and freedom in the digital realm are presented alongside present-day narratives surrounding public land and rights of access, highlighting the 2016 occupation of the Malheur National Wildlife Refuge and the subsequent American's with Disabilities Act (ADA) compliance the refuge was able to fund with monies allotted to fix what was destroyed during the occupation. In November of 2019, Herzog made a wax rubbing of the Malheur National Wildlife Refuge sign, which was the first thing the occupiers rejected and replaced with their own sign reading "Harney County Resource Center". The largest work in the show, "One Dozen Candles", depicts the book covers of a set of twelve books reprinted by the John Birch Society's "Americanist Library" in the early 1960's and sold and gifted to libraries across the country. The society titled the collection of paleoconservative ideology "One Dozen Candles" and included the quote "It is better to light a candle than to curse the darkness." The surfaces of Herzog's paintings consist of hundreds of melted thrift store candles bolted to wood panels, topped with oil paint, with each book title dug out exposing the raw wood. Herzog's wildest show to date moves through decades of American matter as a result of digging through archives and Goodwills, working in rural libraries, attending the Libertarian Seasteader experiment "Ephemerisle," becoming a 4H parent, and physically occupying through art, to present her own lit candle as an American artist at the inception of 2020.