Neither painting nor sculpture, Wyatt Kahn’s latest reliefs comprise dozens of small, puzzle-like components that fit together to form image-objects. The parts consist of shaped stretchers around which Kahn wraps and staples sheets of lead, linen, or canvas. Everything about the work evokes the presence of the hand, from its nuanced construction to the imperfect wrapping of the linen. “This past year made me look back at the foundational structures of my practice and add layers of chaos on top of them,” says Kahn, who piled different planes on top of each other to complicate the picture with physical depth and shadowy perspective.