Otis Jones’s art is neither elegant, polished, refined, sophisticated, delicate nor exact. And that is a good thing. The Dallas based artist, who has been challenging traditional notions of modern painting since the mid-1970s, is finally getting a serious look. In a beautifully installed exhibition at Marc Strauss, Jones’s minimalist shaped paintings challenge classic distinctions between art as object or surface through a meticulous condensation of material, color and form. His moda operandi consists of stapling raw canvas over crude, shaped frames which he then stains, paints and reduces, Robert Ryman-like, to a semi-monochrome effect. He produces extraordinary spatial tension by judiciously adding one, two or three small circles or short lines within a color palette that never eclipses a natural beige or a warm red. The result is a radical art form that is sincere, kind, intelligent, direct, unaffected and uncorrupted. At Marc Straus through April 1