Art making at its core is a form of problem-solving; in “God Sees Through Houses,” Hays is trying to answer the question of why art now for herself, in the face of not only political but personal turmoil. Much like “Keeper,” the artist’s 2017 solo show at Nashville’s Red Arrow Gallery, “God Sees Through Houses” finds Hays reexamining her decades-long painting practice as a whole. It’s as if, in these exhibitions, Hays admits that she can no longer indiscriminately pull architecture, symbols, and figures from the wider world. She must wrestle with their original context and the charged associations that can accompany them. In my eyes, this marks a breakthrough for the artist.