It appears we are in the midst of a Dan Flavin renaissance. In recent years, his work has seen a host of exhibitions around the world, including, most notably, a comprehensive retrospective organized by the Dia Art Foundation and the National Gallery of Art and accompanied by a catalogue raisonné. Coming on the heels of that survey, whose extensive tour ended last year, “Dan Flavin: Constructed Light” might have gotten a little lost. It shouldn’t have. Although modest in size (consisting of seventeen works, ten of them undergoing color changes halfway through the exhibition’s run), “Constructed