Smith, who paints hard-edged abstractions, is a virtuoso of balance in disproportion. Six of the dozen new works here feature intersecting diagonal lines of two distinct thicknesses and suggest mosaics. Elsewhere, Smith daubs swatches of color against taxicab yellow and Tiffany blue, and tessellates white ovoids in a field of red and black. Most of the paintings are square—think Malevich, think Instagram—and Smith’s deployment of asymmetric components in an equilateral frame has, in the best cases here, the sprightly invention of a Coltrane cadenza. Through Jan. 9.