The New York Times' Roberta Smith described Dan Walsh's paintings thus: “The obvious historical precedents of these canvases include Minimal art's grids and stripes, Color Field painting's stained-canvas punch and Josef Albers' chromatic intelligence jazzed toward Op. But Mr. Walsh's fusion of them is surprisingly organic and present. It is grounded in a slightly muted though still vivid palette, a distinctive sense of proportion and a penchant for compositions—especially grids—built from large expanses, little squares, lines and stripes of layered, contrasting colors. Everything is softened by the vagaries of the hand... The result is choral. No element functions independently; each modulates the others. Mr. Walsh paints with a directness similar to Agnes Martin's, but gives himself more to do." Featuring more than 70 color reproductions of paintings and installation views demonstrating Walsh's at once programmatic and playful approach to abstract painting, this first comprehensive overview spans the last 15 years and includes contributions by Stephen Ellis, Eric de Chassey and Bob Nickas.