b'orange paintings with asymmetric compositions that entwine the complementary pairings into an unstable yet resolved dialogue. Hampton is an outlier in that color serves not only as the figure but also fills the ground, and the tiny Linwood is a lovely and spare capture of a single, continuous gesture over a pentimenti, a shadow of a painting behind.In the other paintings in the show, including the largest, Hendrix, red, blue, yellow and orange gather in clusters over white grounds, with hazy atmospheres resulting from the layering of additive and subtractive processes. The compositions are equally considered and improvisatory, the gestural marks less sculpted and more forthrightly painted than in his previous works. Sheinkman is a painter who has tended to adapt and advance within self-imposed restrictions. These paintings result from a welcome, if not inevitable, phase of an artists progress when its time to be less deliberative and just let it fly. The paintings in this show are evidence that by widening his horizon to include color, he has found a fertile direction for the future evolution of his distinctive work.jill weinberg adams March 2019Hooper, 2016, 18 x 14 inches,oil, alkyd and graphite on linen.Private Collection.'