In searching for what underlies the visible, Jeanette Johns' series of prints Retreating Agassiz, reveal how the unknown and unseen can give context and meaning to ones sense and experience of place. Taking the widest macro-view in both a physical framework and through the concept of time, Johns traverses millennia, and discovers ways to insert something of herself into a collective history of place that she asserts belongs to "all of us." It is a collective history of a time that would not be named or marked until the recent past; nonetheless, it is an inherited history whose relics and traces remain to impact the lives of those who take care to notice