Mary Heilmann’s recent abstract paintings are characterized by an almost brazen diffidence—a dispassionate equanimity—that ultimately proves entirely satisfying. Nothing appears hurried or particularly cries out for attention, nothing asserts itself, suggests conflict, or even proposes decisive resolutions. Rather, these curious painterly geometric abstractions read as judicious but meandering artistic interventions evidencing everywhere a generous, maker-friendly voice. Heilmann’s decisions appear so void of focus, so nearly arbitrary, that it is surprising that she achieves such stunning

Richard Artschwager showed new pieces from the two ongoing series for which he is best known—the pristine formica and wood sculptures that hover between furniture and sculptural objects, and his grisaille paintings on celotex. In recent years the separate bodies of work have begun to converge. It is not just that the frames of his paintings have become so visually complex as to suggest sculpture, or that celotex is starting to crop up in his formica sculptures; rather, both series have simultaneously moved toward the special harmonies of an Albertian world order. All seven works on display here,