In the second half of the 20th century, the vision and accomplishments of the vast majority of America’s designated masters have tended to be monolithic, highly focused and, above all, self-referential. For the painter and collagist Jess, this Modernist mainstream seems to have held only passing interest during a lifelong development of a personal vision, shaped by qualities so distinctly unconventional that his remarkable work—difficult either to categorize or describe—has not received the kind of recognition or respect that it has long deserved. This extensive retrospective now