Stanley Whitney thinks of color as a kind of object, complete with its own weight, volume, and solidity. From the 1970s to the present, with works like Endless Time, Whitney has structured his paintings as irregular grids, a set-up that allows him to work through a seemingly infinite number of side-by-side juxtapositions among different colors. Beginning with the top left square, Whitney selects each new hue based on a careful consideration of those already on the canvas.