minimalistic color-field paintings. But look harder and you’ll see they are literal renderings. Craddock subtly layers colors in varied tones and hues, then scrapes, burnishes, and scumbles the oily-chalky layers to make them translucent or variegated. Her bravura technical mastery astonishes. Craddock describes the process of creating each work as “being in the moment, being fully present and responding” to the individual object. She first applies pigment with broad strokes, then rubs and pushes it around, sometimes letting the paper show through for transparency. The result is a balance between serene meditation and intense expression. The contrasting images of each diptych oscillate between material simplicity and conceptual complexity. Regardless of how reductive they are, the diptychs are visually ravishing. As vehicles for gesture, formal concerns, and shimmering color, they stimulate eye and mind and evoke emotion. In “Summer Squash, Stone Ridge, NY” (2016), both halves co-exist in harmonious polarity. The exterior of the squash is, at top, yellow as a dandelion, gradually bleeding (through vertical scraping to expose deeper layers) into diaphanous green, like a field of grass blasted by the sun. The interior is its pale sister: ivory with a yellowish tinge at the bottom. In “Watermelon (Havana)” of 2015-16, blurred vertical bars of olive green alternate with fuzzy yellow- green stripes, representing outward appearance. The horizontal structure of the interior is in sharp contrast. A bold red block fades in intensity into a gauzy off-white passage before dissolving in a ragged line of green rind like a coda at bottom. The two twelve-inch squares of “Cara Cara” (2017) have a bipolar personality. The exterior shows a slab of orange gradually becoming mottled and