Scott Short’s recent paintings are the product of disciplined and structured procedures, the seriousness of which is relieved by a healthy dose of idiosyncratic intervention. Procedure first: For the past nine years, Short has produced all his paintings by taking a letter-size sheet of white, black, or colored construction paper and making a black-and-white photocopy of it. He then makes a photocopy of that photocopy, then a photocopy of that one, continuing this process several hundred times. He makes a slide from one of the late-generation copies and projects it onto a canvas, finally—and