Just as painting was considered “dead” by most critics in 1972, when minimalism had reached its apogee, Mary Heilmann reinvigorated the medium with her quirky, handcrafted approach. Informed by her early training in ceramics, Heilmann’s paintings are often built up from thin washes of color that mimic the effect of ceramic glazes. For example, the irregular pattern on the left panel of Interior resembles the crackle of fired glaze. Informed largely by West Coast pop culture, neon signs, and sun-drenched beaches, Heilmann professes her desire to convey “a sense of time and place.”