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EVER SINCE CLAUDE MONET recorded gray smokestacks on the riverbanks at Argenteuil, France, industrial modernity has stood at the heart of artistic production. Think Diego Rivera’s “Detroit Industry Murals,” 1932–33, Charles Sheeler’s crisscrossing conveyor belts, or Bernd and Hilla Becher’s taxonomic grids. Yet few if any of these artists can claim to have experienced these spaces as has Anthony Lepore, whose modest studio a roughly five-hundred-square-foot open-top box is positioned squarely in the center of a working factory floor. To visit the artist, you must enter a nondescript warehouse at the edge of LA’s Lincoln Heights, before wending your way past rows of workbenches where seamsters hand-sew garments with meticulous attention. The sounds of conversation, laughter, norteño music, women singing in unison, and the general din of machine-assisted labor echo off the walls. 

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