Keep Left at the Fork opens with two hands maybe grasping for, maybe pulling away from one another. Jesus is watching from a wrist. As the title of the imposing work suggests, in this gaze are The Eyes of Texas (2022). The ambiguity of charged space between contact sets the tone for Chloe Chiasson’s solo museum debut at Dallas Contemporary; here, enormity and iconography suggest how home and history are constantly rejecting us and beckoning us back. Through a grouping of nine large-scale mixed-media paintings and sculptures, the artist succeeds in imbuing queer expression into scenes of Americana.