Art is a city game. At least mostly, and at least since the start of the 20th century.

But what about now, as real estate prices eject artists from cities every day? And as Donald J. Trump stirs the loyalties of people outside cities every day, too, as George Saunders writes this week?

PUNCH Gallery, located in Pioneer Square and closing this month after a decade of solid exhibitions with a final show called Hit and Run—opening during First Thursday this week—has been the site of a culture clash that appears to be morphing into a culture shift.

PUNCH members Renee Adams, Howard Barlow, Justin Colt Beckman, Justin Gibbens, and Joanna Thomas all live in Eastern Washington, and here's what they wrote about it in the announcement for the final exhibition:

Our hearts are the most full when roaming the open spaces and quaint towns of central Washington. We live for star-spangled nights, crisp mountain air and vast expanses of open sky. For rugged and undeveloped horizons, for distinct and penetrating seasons and the glorious consequence these things have upon our psyche.

It's a little bit Morris Graves, a little bit Murican.

They continue, "Though we will be letting go of our physical gallery space, we will continue to explore and experience the curious space that exists between contemporary aesthetics and rural living. Hit and Run will be the catalyst for this continued investigation."

"Curious space" indeed.

Their literal vehicle for Hit and Run was a 1986 Pontiac Firebird they picked up at the local auto wrecking yard.

They "soup[ed] it up so that it [was] demolition derby-ready," worked with vet demolition driver Darren Scott, and took part yesterday in the 42nd Annual Goldendale Jaycees Car and Truck Demolition Derby.

How'd they do at the derby? (How does an art Firebird win?)

How will whatever happened come to an art gallery in the middle of the city of Seattle?

I'll find out when you do, at Thursday night's opening.