Peter Bradley, now 85, has been on the scene for a long time. Schooled at Detroit’s Society of Arts and Crafts and at Yale University, he began painting in the late 1960s at a loft on Broadway and Bond, downtown. Bradley had his first show in 1972, at André Emmerich, and already he was different. He didn’t want “to create something to which I already knew the answer.” So he chose not to paint with a brush. Instead, Bradley let chance into his work, let the paint improvise as if it were music. Other implements—a spray gun, a bamboo cane, the addition of water—could get the paint moving. Bradley’s trigger is color. “Look outside. Look how abstract it is out here,” he told The New York Times in 2021, referring to his garden in upstate New York. “Before you see any plants, you see the color. What’s important is the color. Nothing else.” Indeed, his rich, soft, deep, transcendent spectrum seems sentient. To make the paintings that are now on view at Karma, Bradley poured acrylic directly onto canvases on the ground. The emerald implosion of Fran-Dance (2026) is energy primeval. Corcovado (2026) seems to see the beginning of life itself. —Laura Jacobs