Stephen Westfall’s optimism is on view. The twelve paintings in this exhibition radiate freedom and joy. He continues to mine the possibilities of harlequin patterned diamonds in bold colors, both contrasting and close-valued. Underlying grids are skewed or absent, or present if that is his preference. There are ringers, though, compositions perfectly new, which might slyly reference precedents from past paintings or derive from something as casual as a phone photo of one painting leaning against another in the studio. We viewers don’t need to know the genetic makeup of each painting, just to enjoy them as they are. Westfall’s work on an architectural scale is partly responsible for this new strain of inquiry in his studio paintings. Public work requires adaptability and nimble thinking. Even the proposal process for commissions knocks on doors that open to new ideas. Although it’s taken some time to filter and Perasma II, detail, 2018, 8½ x 66 foot frieze, laminated glass m ta a r t s a n d d e s i g n , p h o t o © j a m e s a n d k a r l a m u r r ay