After dropping out of the art world for thirty years, Robert Kinmont has returned to a mostly cordial welcome as a missing member of the generation of John Baldessari, Bruce Nauman, and Ed Ruscha, but he may be even better than this sympathetic “school of” reception suggests. His work tends to attract such adjectives as post-Minimal and Conceptual, but it is warmer, more modest, and more playful than those words imply.

Take the relationship between Glider, 1973, a Super 8 film, and a companion piece, Trying to Understand, 2015, a digitally restored and shortened version of this original, presented