The title Flemish IX refers to Al Held’s fascination with early Flemish painting, especially that of Jan van Eyck, with its sharp focus realism, precision, and construction of coherent spaces drawn in perspective. Held creates a contradictory structure by projecting geometric solids from several different vantage points, with multiple foci and ambiguous spatial relationships. In Held’s words, “a dozen absolute truths exist in the same space and time.”