Large and airy oils that depend much on size for their impact are the dominant species in this showing of non-figurative oils. The giant torn shapes within the paintings are often weightless in color and their edges have an openness that allows an interplay between object and ground. This object-­ground relationship is exceedingly in­volved in the heavier forms of Daho­mey. The red, the black, and the white each have their turn at emerging. In Cumberland, a plunging green splits the dominant blue that in turn resists by swallowing up the green. Youngerman keeps his limited cast of charac­ters working hard throughout the paint­ings with the variety of parts they must play.

—Doug McClellan