Her spaces recall the existential landscapes of Philip Guston, but hers are cooler and more inviting if no less anxious. The brushstrokes themselves look reticent. It shouldn’t be possible to compose a painting from as little material as went into In the Rectangle (2011) but the result is wholly satisfying, a gentle two-tone wash held together by inconspicuous daubs whose colors fade like flowers in a fog. Untitled (Square for L.F.) has a tougher look. (Does the angle on the right side of the square homage the trash-can-lid-carrying arms of Guston?) But it’s a toughness derived from Hinnemo’s ability to put down a little paint with a lot of authority.