The earliest pieces on view, such as Outlook and Untitled (both 1994), are reductive compositions of narrow, black parallel lines on bright white grounds. The paintings may suggest simple boxes or architectonic forms, like building blocks or beams, and reflect Walsh’s subtle interpretation of the already subtle minimalist ethos. A little later, in works such as Theme (1999), the Philadelphia-born New York painter reimagines the grid as a key component in expansive, light-filled compositions.