To make the paintings in his latest exhibition, “Linear Strategies,” James Stroud secured square aluminum panels to a metal rack like those used by commercial printers and applied blue, red, and yellow oil-based printing inks in grids and stripes with a roller. Despite the limitations of this procedure and the exacting rigor of his techniques, borrowed from printmaking (he is also a master printer), the geometric abstractions that result are surprisingly luminous and seductive.

Six of the seven grand installations on view were long rectangular arrangements of the painted aluminum squares (all