When the more outre colors in your personal palette come into fashion, jump on them—they won’t be around forever. It’s been a while since Wayne Koestenbaum proclaimed “the Mainstreaming of Orange,” and the punchy, yellowish greens my wife and I like to decorate with have been pretty easy to come by these last few seasons. So I figure assertive, acidulous secondaries are probably on their way back out. If you share my taste, even if you aren’t normally a devotee of high craft, you should take a spin through this show of the recent sculptures of Jay Musler, who is having a decorative moment right now. In the past, his glued constructions of sandblasted, cut, and painted glass were so grim and dark that at least one magazine mistook them for metal. Even as recently as two years ago, although his pigments had moved toward chartreuse (both flavors) and tropicana, the Berkeley, Calif.-based artist was burdening his work with titles such as Sex and Death. Musler still hasn’t completely ditched the broken wheels and forked twigs that forge a dated link to the quasi-antique, quasi-surreal nature-boy symbolism of transavantgardists such as Mimmo Paladino, but his tone has lightened considerably, and it suits him. Camouflage (pictured) and Camouflage II are large, shallow bowls whose colorful mosaic surfaces extend to, but don’t really disguise, the quatrefoil shapes at their centers. And even before you know the titles of Visions of Fireflies and Visions of the Sun Settin’ Low, you’re wondering how they would glow in twilight. The exhibit is on view from 11 a.m. to 6 p.m. Tuesday to Saturday, to Friday, April 12, at Maurine Littleton Gallery, 1667 Wisconsin Ave. NW. Free. (202) 333-9307. (Glenn Dixon)