Sky-high storytelling: That's what a trio of artists in the collective Postcommodity brought to the Arizona-Mexico border in October with a temporary land art installation called Repellent Fence, comprising a row of more than two dozen 10-foot-diameter balloons with scare-eye iconography used by farmers and gardeners to repel unwanted birds from their land. Artists Raven Chacon, Cristóbal Martinez, and Kade L. Twist worked with community members in Agua Prieta, Sonora, and Douglas, Arizona, to float the balloons 50 feet above the desert for several days, bisecting the border while prompting conversations about attempts to marginalize, repel, or destroy indigenous people within and beyond the borderlands. Its poignancy was magnified as droves of Syrians sought refuge in Europe, and the number of Central American children seeking refuge in the U.S. rose dramatically. Amid the empty din of ideological rhetoric, Postcommodity's quiet installation spoke volumes.