This week, to coincide with the launch of “Matthew Barney: Redoubt” at London’s Hayward Gallery, managing editor Jeff Gibson introduces scholar and critic Lane Relyea’s 1991 essay on Barney’s breakout jock-and-gymnasium-themed performances and installations.“A sticky-fingered King Midas, Barney has a desiring touch that ripens the sexual connotations in all his objects, transforming his rooms from sports clinics into porn shops, candy stores, torture chambers.” So wrote Lane Relyea at the dawn of Matthew Barney’s singular and prodigious career. Deploying prose that is as provocative and energetic