Jay Willis’ stacked, gently curved vertical sculptures have a cheerful exuberance sustained by every aspect of his work. Bright primaries and pastels on flat surfaces intentionally fragment his tall slender forms into free-floating planes accented by the sharp unpainted aluminum edges of each part. Recalling the precarious, improbable weighting and balancing of David Smith’s “Cubi” series, 1961–65, these tipped and joined elements pull the viewer around their animated configurations.

Willis’ roots are in the work of Smith and Anthony Caro, and in the pristine painted metal sculpture of Donald