Westfall has covered a lot of territory in the realm of hard-edge geometric abstraction since he first showed with Lennon, Weinberg in 1997, when his work featured subtly destabilized layered grids over modulated field colors. Diagonals appeared before long, and by the time he returned from a fellowship at the American Academy in Rome in 2010, they had supplanted rectilinear structures while still adhering to defined systems. Now his painted space might tilt and veer or snap to edge and surface, his colors are synthetic and activated. He is making music — a harmony here, a dissonance there, and a grand finale in the three newest paintings in the show, the trio of six-foot vertical paintings, Wild Card, Sorcerer and Jubilee. The titles alone speak volumes about what Westfall has going on. The paintings themselves rank with the best he has ever made. Jill Weinberg Adams, September 2018 Dappelganger, 2018, 6½ x 21 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