Bruce McCall, lauded by Steve Martin as "a comic hero of several generations," has contributed to virtually every magazine in North America, especially the New Yorker, where his work has appeared regularly since 1979, including seventy-seven covers (and counting). McCall was one of the original staffers at the now iconic National Lampoon magazine, helping define it's biting satires of modern consumerism and the absurdity of American advertising. Much of his early magazine work is featured in the 1982 collection, Zany Afternoons, and All Meat Looks Like South America gathered his persistently voluminous output up to 2003. A lifelong devotee of everything automotive, The Last Dream 'o Rama (2001) showcases the artist's singular ambidexterity of technical exactness and ingenious fantasy with more than 100 pages of make-believe cars that "Detroit forgot to build." McCall's many forays into uncanny design have been described as "Retro-Futurism," a concept the artist expanded upon in the 2008 TED-Talk, "What is Retro-Futurism." His career also encompasses a host of artist-writer collaborations with lifelong friends, including Adam Gopnik (The Steps Across the Water), Ian Fraser (The New Yorker), and David Letterman (This Land was Made for You and Me). McCall's archive of visual art includes hundreds of works, with a variety of subjects and materials that testify to his ranging fascinations with people, technologies, and ideas of the past, the future, and the reliably constant absurdity that comes up in the meantime. He lives in New York City with his wife and daughter.