As her work has evolved over the past several years, Baker says she is less conscious of ‘riding the boundary’ between the historically disparate modes. 'I used to see them as two different things that I would bring together, but now I feel like they've dissolved into one another.'"  "Flat Out" also featured freestanding sculptural works such as "Kurotoplac Kurve" that the artist would explore further in subsequent shows.  2007 "Surge and Shadow"  For her second solo at Deitch Projects, Baker started moving away from the subject of auto racing, but not from the movement and speed it allowed in prior work. Ethan Greenbaum notes:  “The large-scale installation features a series of painting hybrids as well as wall mounted, rectilinear works. Baker has jettisoned her racecar motif in favor of an expression of speed itself…Walking through the show, I thought of the Italian Futurists, all bluster and dark optimism about the mechanistic promise of the new century.” Not only are the Futurists brought to mind, the work also bears references to Marcel Duchamp and Théodore Géricault. “A riff on Géricault’s “Raft of the Medusa” imagines it unpeopled and overcome by tattered waves; in a twist on Ab Ex gesture, frenzied brushstrokes are isolated, cleaned up, and tidily placed in the picture plane.” The spectator is now turned from the movement and speed of the racetrack to the uncertainty of a raft in the stormy sea. Jennifer Gross writes, “Baker’s reconstitution of the raft is comparable to the animation of her race cars: both are blown apart and we are engaged with a heightened sense of an accumulation of moments in time. Although her mark-making is very controlled, calculated even, the spectator and the raft are immersed in a wave of painting, drowning in painting as a material fact. Like Géricault, Baker is using the conviction and excitement that only a contemporary incident, in her case the “mechanical” process of painting itself, to stimulate the work...What we see here is the rough anachronistic interface, the crash, between two traditions of high art: history painting, seen here as a dissipated raft and sublime landscape, and abstract painting embodied in crashing waves of color.