Stone writes: "Scully’s newer works have gotten much looser, the paint handling is more offhand, drippier, the compositions have opened up and become less structured. The predominant color in these works is an ultramarine blue that occasionally gets lightened, muddied or blurred with acidy yellows or workman reds, dropping the primaries into secondaries and/or tertiaries. In these landscape-y blue works there is a broader swing from dark to light, the stripes open up while the paintings remain more monochromatic. ... Doig’s color is hearty in blocks and stretches, the figuration is respectfully abstracted following Diebenkorn’s and Hockney’s examples, and there’s a bit of Surreal spectacle and art historical play in them. This is Postmodernism done well, and when it works as it does here, it can be pleasing."