HuffPost Arts' Haiku Reviews is a monthly feature where invited critics review exhibitions and performances in short form. Some will be in the traditional Haiku form of 5x7x5 syllables, others might be a sonnet and others might be more free-form. This month, George Heymont, Laurence Vittes and Peter Frank give their quick takes on performing and visual arts.

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Ned Evans has always been a deft and sensitive abstractionist, able to ring myriad changes through relatively simple formal patterns; whether reliant on formula or not, Evans' visual sensitivity has made that reliance moot. Now, however, his work has reached a level of complexity, not to mention opulence, that is consistently vibrant and often breathtakingly beautiful. Evans weaves together slightly diagonal lines and shifting panes of color into limpid patterns that seem to shift in time. Indeed, they seem to be recording the passage of light against the facades of modern office buildings, the skeins of windows reflecting one another as well as the prismatic colors a setting or rising sun sets in motion. It's hard enough to photograph such effects (although doing so has become a trope of amateur art photography), but to paint that - and to paint it in such a way as to generate self-sustaining paintings that still evince the architectural association - is to get away with an aesthetic two-fer. (William Turner, Bergamot Station, 2525 Michigan Ave. #E1, S. Monica; through June 9. www.williamturnergallery.com)

- Peter Frank

Image credit: NED EVANS, installation at William Turner Gallery

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