Kenneth Noland’s name is synonymous with a particular kind of American abstraction—one based on the potency of color, rooted in the belief that relationships of hues, like music, can directly and wordlessly stir our deepest emotional and intellectual reserves. Noland’s name stands, too, for pictures with lucid, near-geometric formats—images that ring changes on frontal, symmetrical, deceptively simple compositions, brought to life by seductive color. Probably the best known of these are the Circle paintings—unabashedly beautiful concentric rings of disembodied hues—with which he first announced himself as a painter to be reckoned with, four decades ago.

Recently, Noland has returned to his circle format, after years of exploring other permutations, rather like the composer of an extended set of variations restating the theme that was his original point of departure. Noland’s new Circles are still about color’s ability to trigger infinite associations and affect emotions; they are stil…