Many of the objects—paintings, sculptures, and drawings—presented in this exhibition were informed by time Jay Heikes (b. 1975) spent at a residency in Marfa, Texas, in early 2017. The dry, crumbly terrain of the desert landscape and the site’s proximity to Mexico inspired his rumination and reflection on the significance of borders to our culture, a subject that has concurrently received much attention in the political sphere. The exhibition features two large-scale copper sculptures that loosely conjure fences. Yet instead of delimiting territory, the sculptures appear tenuous and ornamental, alluding to the fact that they define a metaphorical space rather than an actual one. The sculptures are complemented by a selection of paintings from Heikes’s Z series, which he developed as a way to signal the end of language, implied by his invocation of the last letter of the alphabet. Additional drawings and sculptures extend his application of similar motifs. Together, the works embody the artist’s longing for transcendence amid the deluge of negative media in the wake of the presidential election.The son of a chemist, Heikes grew up fascinated by the sense of magic inherent in scientific experimentation and discovery. This experience is apparent in his interest in alchemy and the diverse material processes embedded in his artistic practice. “I feel we’re on trend to shortchange the art object,” Heikes has said. “We’re not giving it its due and I want to challenge that a little bit.” In addition to activating a reflection on our cultural moment, the works in MATRIX 269 highlight Heikes’s commitment to the material properties of the art object, and his probing of the potential of his diverse media and subjects.