Jerry Saltz at New York Magazine:
Kelly’s Minimalism, such as it is, isn’t doctrinaire, reasonable, on-message. Instead his huge shaped canvases cohere in more subjective space where the mind and eye play with forms, creating larger circles — systems that might not make sense — forming arcing edges or extended long slopping lines into exotic configurations that feel very much part of the world, almost architectural. Kelly’s work exists at some metaphysical-visual junction where we are in immediate contact with the medium of painting itself — its formal characteristics and uncertainties — morphologies of shape, overexposed light, mathematics, form and fragments, power, and the emancipatory openness of the eye. He gives permission to just love color, prettiness, the miracle of chromatic intensities — for themselves and the sensations that seem inherent, internal, part of form itself. It's hard to overstate just how radical this prettiness is when it comes to modernism and the ways it often comes with backstory, theory, rationale. Kelly makes us revel in something as simple as a large monochrome floating painting and see it not only as a crack into meaning, but also as something that has attained an almost inviolate foreverness. Not one of his works ever seems old to me. Instead I see enclosed Edens; cosmic geometry.