Thousands of Native Americans at Standing Rock in North Dakota are protesting a pipeline project that puts their water supply at risk, threatens to plow up their sacred sites, and would worsen climate change.

Their rallying echoes hundreds of local struggles across the U.S. that question the prudence, safety, and necessity of thousands of new gas pipeline projects.

The gas industry tells us these projects promote energy independence and meet local gas needs. But the driving force behind most of these billion dollar infrastructure projects? Gas export.

Big gas is desperate to get their cheap shale gas to global export terminals — and they’ve dug up millions of backyards to do it. Fortunately for the industry, they have a subservient federal agency that grants them the power of eminent domain to take those backyards.

The anti-pipeline movement brings together mayors, state officials, and engaged neighbors concerned about health and safety, unnecessary rate increases, and the environmental irresponsibility of constructing new fossil-fuel infrastructure. They’re fed up with a system that allows the profits of private energy corporations to override local concerns and dictate our future.

Many politicians remain stuck in the “gas as a bridge fuel” perspective. But growing scientific evidence shows that methane from gas extraction and transportation poses a greater short-term climate change risk than burning carbon fuels like coal and oil.

We should be rapidly shifting away from all new fossil-fuel infrastructure projects, and investing in fixing existing gas leaks and using renewable energy like wind, hydroand solar. This shift will create millions of high-paying jobs in the new energy economy.

In the Boston neighborhood of West Roxbury, residents have vigorously opposed a high-pressure pipeline that arcs into the heart of a densely populated neighborhood and terminates across from an active blasting quarry. All of Boston’s elected officials unanimously oppose this project — but big business is still winning.

The Texas-based Spectra Energy sued the city and took their streets by eminent domain. The city of Boston is still trying to block the project in court, but construction is almost complete. In the last year, almost 200 neighbors and religious leaders have been arrested for blocking construction.

How is this possible in a democratic society?

The answer lies with a little-known and unaccountable agency called the Federal Energy Regulatory Commission (FERC). Under the Gas Act of 1938, FERC may grant private corporations the power of eminent domain over local jurisdictions.

Maybe this was necessary in 1938 to build a modern energy system. But today, we need an energy agency that’ll balance a wider set of considerations, not just the interests of a politically powerful gas industry.

In the last few years, FERC has rubber-stamped just about every project the natural gas industry has sought to build. These include high-pressure pipelines running next to nuclear power plants, across fragile water supplies, and across traditional Native American lands.

In the words of Robert F. Kennedy Jr., FERC is a “rogue agency.” The U.S. Senate should convene oversight hearings to examine FERC overreach. Congress must modernize the Gas Act to protect communities and reduce carbon and methane emissions. And an independent agency should assess our nation’s real energy needs.

Decisions about our energy future shouldn’t revolve around a self-interested gas industry and investor-owned utilities. For the sake of the planet and our democracy, other voices must be at the table.

"Shippwrekked (BR15-108'') (acrylic on fabric), by Brent Ridge, in show "Liz Gargas and Brent Ridge,'' at the New Art Center, Newton, Mass., March 4-April 10. The gallery says that Mr. Ridge "operates in a land of abstraction rooted in appropriation, landscape, and post-industrial aesthetics''

"Smoke" by Lisa Oppenheim

"Smoke'' (installation view, two-channel video, looped), by LISA OPPENHEIM, in the "Film as Medium and Metaphor'' show at the Massachusetts Museum of Contemporary Art, North Adams, Mass.

"The parody trailer by comedy network Above Average explores a world in which the dedicated Spotlight team finishes their work on sexual abuse in the Catholic church and investigates what else is wrong with Boston: everything."

Newport

'Better Angels: Firefighters of 9/11,' by Dawn Howkinson

'Better Angels: Firefighters of 9/11,' by Dawn Howkinson Siebel, at the Wood Museum, Springfield, Mass through July 10, 2016

Her work features 343 portraits, one for every New York City firefighter lost in the attacks on the World Trade Center. The images are along a 21-foot-long wall, allowing visitors to come face to face with men who made a living out of risking their own in order to save others.

"Saturday, March 21 (1965). Afternoon. Taken on my arrival in Selma {Ala, at the Brown Chapel area," by JAMES H. BARKER

"Saturday, March 21 {1965}. Afternoon. Taken on my arrival in Selma {Ala.}, at the Brown Chapel area," by JAMES H. BARKER, in the show "Through the Lens of History: Selma & Civil Rights,'' Grand Circle Gallery, Boston, through January.

"Consumable Sugarhouse,''

"Consumable Sugarhouse,'' in Norwich, Vt.

“A sap run is the sweet good-bye of winter”

"Window 60 Autumn,'' by Maira Reinbergs

"Window 60 Autumn,'' by Maira Reinbergs in the "Color Passages'' show at ArtProv gallery, Providence, through Feb. 17.

"Hydrogen 1,'' by Sarah Hulsey, in her show "Schemata"

"Hydrogen 1,'' by Sarah Hulsey, in her show "Schemata,'' at Chandler Gallery, Cambridge, Mass., through March 11.

An arrogant plutocrat for the masses; bees imperiled

How curious that middle- and lower-income Americans who feel with some justification that they have been treated with disdain by an increasingly arrogant and selfish plutocracy turn for leadership to a sleazy, arrogant and narcissistic member of the plutocracy.

"Frog Prince,'' by MAXFIELD PARRISH, at the show "The Power of Print,'' at the Currier Museum of Art, Manchester, N.H., through Jan. 10. Mr Parrish did much of his work in New England at the artists' colony in Cornish, N.H.

"Whale's Jaw, Dogtown,''

"Whale's Jaw, Dogtown,'' from the archives of the Cape Ann Museum, in Gloucester.

Mornings in Little Compton

by Lydia Davison Whitcomb

Mornings in Little Compton

by Lydia Davison Whitcomb

Colored Stone History

by Lydia Davison Whitcomb

"Unihemispheric Existence''

"Unihemispheric Existence'' (detail) (steel, wood, gallery wall), by WILSON HARDING LAWRENCE, in the show "Nuanced: open-endedness, capaciousness and other provocative conditions of making,'' at the Dedee Shattuck Gallery, Westport, Mass., through

"The Market Is a Snake,'' by MICHAEL YEFKO, in the show "Further on Down the Yellow Brick Road,'' at Hera Gallery, in Wakefield, R.I., through June 20. In it he explores "temporal aspects of geometry.''

"Physicality'' (photography, oil, narrative text and resin on panel), by SHERRY KARVER, in her show "Objects of Affection,'' at Lanoue Gallery, Boston, through Oct. 31.

"Dream Work of Thomas Street''

(acrylic on panel), by SHAWN KENNEY

"Karl with Honeybears"

"Karl with Honeybears'' (oil on canvas), by DAVID PETTIBONE, at the Corey Daniels Gallery,

"smoke"

"Smoke'' (installation view, two-channel video, looped), by LISA OPPENHEIM, in the "Film as Medium and Metaphor'' show at the Massachusetts Museum of Contemporary Art, North Adams, Mass.

"Elevation'' (acryllic on canvas), by Diane Novetsky, in her show 'EARTHSHIFTER

"Nero''

"Nero'' (Marquina marble), by PAUL BLOCH

"New Orleans Sketchbook, March 1-17, 2007, Lower Ninth Ward

"New Orleans Sketchbook, March 1-17, 2007, Lower Ninth Ward,'' by JEFFREY MARSHALL, in the show "Katrina Then and Now: Artists as Witness,'' through Oct. 10, at Gerald Cantor Art Gallery, College of the Holy Cross, Worcester.

"Siberia Imagined and Reimagined"

Photo in Krasnoskamensk, Russia, March 2006, by SERGEY MAXIMISHIN, in the show "Siberia Imagined and Reimagined,'' at the Museum of Russian Icons, Clinton, Mass., through Jan. 10.

"Arcology'' (detail; gouache and Lascaux acrylics on archival papers), by Ilona Anderson, in her show "Arcology,'' at Kingston Gallery, Boston.

"Resonance: book in time II''

"Resonance: book in time II'' show at Brickbottom Gallery, Somerville, Mass., Dec. 6-Jan. 16. It's a collection of individual and collaborative artists' books by Ann Forbush, Ania Gilmore and Annie Zeybekoglu.

"Civil Rights Marchers Walking from Selma to Montgomery, Alabama, on Monday, March 23, 1965,'' photo by JAMES BARKER, in the show "Through the Lens of History: Selma & Civil Rights at the Grand Circle Gallery,'' Boston, through January.