Most of the massive paintings in Mary Weatherford’s new exhibition at Kordansky Gallery, called “like the land loves the sea,” have just one neon rod interrupting her expressionistic pools of color. But her painting Blue Cut Fire (2017) has four slightly curvy vertical rods attached to it. The longest bright blue one pleasantly contrasts the oranges, browns and reds behind it, but the cords that connect one rod to another loop across the painting awkwardly, making it look like the back end of a some technical operation has been accidentally exposed. This behind-the-scenes quality gives the painting its levity and thus its charm. Weatherford’s strokes and color sense may be virtuosic but the haphazard energy of the looping cords makes it hard to take virtuosity too seriously.