Mirthful critters, absurd clocks, and portal-sized geometric paintings were among the main players in the survey of this mid-career painter. What I admire most about Owen’s work is her daring; Her kittens, monkeys, and pirate ships challenge a conventional understanding of serious contemporary painting. As does her choice to overlay chunky paint on vinyl-printed canvas or add sculptural details like pebbles, latticing, and bicycle wheels to her abstract paintings. These 3-D aspects of her paintings teeter somewhere in between boldness and gimmick, at times feeling overworked or to have too many moving parts. But in contrast to her defiantly playful new work, surprising depth is found in this exhibition in a central room of figurative paintings that explore the history of painting. Here 30 or so pieces, hung in close parlor-style proximity to one another, depict the Bayeux Tapestries, Toulouse Lautrec, flattened shapes reminiscent of Matisse, or painterly Bonnard-like floral marks. Contemporary subjects are also present such as embracing soccer players or loosely painted horses. A bright palette and cartoon animals might, in the hands of a lesser artist, arrive at something sardonic à la Jeff Koons. But what redeems this body of work from its overworked moments is Owen’s rigor in carving out new spaces for paintings to inhabit; Who’s to say a painting can’t be deliberately frivolous, humorous, or mischievous?