With his family, he also visited several of the sites of Nazi Concentration Camps, including Dachau and Mauthausen, a history that haunted him for decades to come and became the subject of his first mature body of work in undergrad.

They together explored through 35mm film photography the post-industrial districts of Wilmington, North Carolina, which in the late 1990s was largely a ghost town with the exception of the record store CD Alley and a few clubs.

[5] During graduate school, Lindquist was a research intern at the Museum of Modern Art, writing wall labels for the permanent collection including Andrew Wyeth's Christina's World, as well as paintings by Arshile Gorky and Willem DeKooning.

[6] Lindquist's early work addressed landscape as a memorial, confronting the gentrification of the deindustrialized Brooklyn waterfronts of Williamsburg and Red Hook in late capitalism.

"[7] Addressing the entropic forces in architecture on a global scale, Lindquist traveled to Tbilisi, Georgia in 2009 to research decay from the Soviet Union era town Rustavi, which became the subject of the exhibition "Nonpasts" (2010).

Lindquist works with the guiding principle that art can facilitate social change, actively creating space for the possibility of mobilizing political action and reshaping common values.