Almost Heroic considers serial imagery as part of a way to paraphrase, through images, something large in concept that is conflated by its very presence, namely the disused Olympic stadium left over from the Athens Olympics in 2004. As the site, laying dormant and on the border of a vast redevelopment since the event, questions arise as to the significance of the site and what to do with it. Shot in 2023, Myers walks the site, focusing on inactive forms that emphasize the loneliness of former Olympic glory. Disused and falling into ruin, the stadium abuts the sea. There is a romance in its decay, yet Myers denies this, instead dwelling on interludes of serial frames that build an atmosphere where one questions the vast history of Athens as a city and the Olympic site, refusing photography’s desire to overemphasize the punctuating nature of the monumentalized single image. Instead, Myers walks and details, a structure otherwise monumental and reduces it without providing gravitas or definitions, accepting things simply as they are in the tradition of Lewis Baltz, Robert Adams, and John Gossage.