In the early 1970s, Heinecken began experimenting with large-scale transparencies, which he often hung unframed from the ceiling, allowing them to curl and sway, recasting the image on the nearby wall. “Superimpositional and negative (reversed) and combinational methods seem to me to be innate to the photographic process” Heinecken wrote in 1974. “The fact that light initially causes density and hence a reversed image, seems relevant. The fact that the emulsion is on a transparent base seems important. The fact that the emulsion can be applied to almost any surface seems like a gift.” This transparency and others mimic film negatives and strips (notice the sprocket holes are visible) in a greatly enlarged size. While many of these film strips feature pornographic images, this work takes photography itself as a subject: the adobe church in New Mexico that it depicts was famously photographed by Ansel Adams and Paul Strand (and painted by Georgia O’Keefe). Presented as a negative, Heinecken’s version transforms an icon of modernism into a murky structure flanked by a pickup truck, telephone wires, and other modern-day detritus.