This show is easy to like; the color combinations are fresh and engaging and the unconventional treatment of the arrangement of the materials and their presentation peak your interest. Clearly the artist has made quite an effort to get to this place with her art.  Each of the pieces solidly reference each other stylistically which makes for a tight comprehensive statement.  However, though individual pieces distinguish themselves, as a body of work the show strays toward presenting variations on a theme. Also the scatter placement of the pieces all over the walls is not necessary; this work is strong enough to be viewed at eye level. The arrangement suggests an installation or environmental treatment which I do not believe was the intent.

Missy Lipsett, Relief, 2007, acrylic on unprimed folded canvas, 31 x 35 in

That said I’m interested to see what happens next for Missy Lipsett.  Having carved out a solid and engaging visual vocabulary, I would hope to see her challenge her comfort zone with it in the next body of work.  For example, the color relationships in this work are compatible but what if they weren’t?  In other words suppose the color and even the painted textures were fully up to same level of engagement that the folded aspect and irregularly shaped canvases offer.

Antonio Murado’s paintings break out into 2 categories as defined by the presence or absence of a horizontal line which simply divides the upper and lower portions of the canvas.  Where the division does appear the dividing line is composed of a subtle warping obliquely suggesting the concept of a landscape. When it is absent the subject matter is simply atmospheric sensuality as represented by the delicately rendered surfaces and sublime mix of agreeable hues.  Murado is working some the same territory that Mark Rothko did with his signature work.  A major difference though is that Rothko never let go of the totally ephemeral.  Murado, on the other hand, adds in a dual read between the softness of imagined deep space and something realistically solid and substantial.  In other words, you can gaze into the unfathomable space of these paintings while also aware of the density represented by the painted surface.  The content is this .

Antonio Murado, Pineiro, 2006, oil on canvas, 50 x 45.25 in