a visual influence, and these paintings are not the first she has made that convey a sense of the sights and sounds of the city streets, the brightness and high contrast of the full light of summer. One has a relaxed grid system, the other a more tightly compressed abutment of a more diverse character set of gestural marks. All but one of the smaller works in the exhibition are diptychs, a format Meyer has used to good effect for many years. She is devoted to sketchbooks, and looking at some recent spreads of collaged watercolors, one wonders if the format reinforces her interest in double-panel paintings. Achieving a balance between left and right with a physical break in the center is a challenge she addresses in a variety of ways – most read across the spine with continuity, some less so, and in one instance not one line or shape extends across the middle. Melissa Meyer’s five solo exhibitions at Lennon, Weinberg have shown the evolution of her paintings over the past decade. She is an artist whose work progresses with incremental change rather than abrupt shifts of direction. In her own words: I strongly identify with the importance of change as a commitment to my visual art and way of working. Through gesture, line, shape-making and color, I have experimented in different scales, formats, materials and approaches, and yet there is a thread that is constant throughout these changes, a particular energy I make visible. My goal is to continue to reinvent myself without severing my connections to Abstract Expressionism, more particularly, to the brushstroke and drawing in paint. Jill Weinberg Adams October 2018