Robert Mangold has always been a steady, decorous painter of considerable scope—likable if you like passionate, vigorous abstract art with a methodology of understatement. He has interested himself in arguing general shapes into specific images, usually by modifying them with distinctive monochromatic color spread evenly across the whole support; Mangold has said, “Edges make the structure, the colors make the surface:” The results have been paintings that are not merely pure and simple but clear and resonant, like correct declarative sentences that are delivered in a firm, modest tone but that