The last in a trio of biennials organized by Corcoran curator Terrie Sultan to address relevant issues in contemporary painting, “Painting Outside of Painting” included more than 80 works by 26 artists who, as Sultan writes, are “reconceptualizing and refiguring the very structure of painting.” The statement can be somewhat misleading: John McCracken’s polyresin planks (e.g., Gate, 1995) and Sam Gilliam’s draped-fabric Bikers Move Like Swallows II, 1995, for example, raised the same formal issues that had made these artists famous in the ’60s (i.e., “painting-as-object” and “color-as-form”).