In a catalogue for the show, Carl E. Hazlewood has written, in part:

Totally committed to the act of painting, Weithers appreciates this sneaky engagement, the aesthetic surprise, which is an after effect of his intense relationship with the canvas. This work recognizes the history of art after Jackson Pollock, but is nothing like ‘action-painting’, or some debilitated rethread of classic abstraction after mid-century; rather, it is about how color can take cues from the vital life and various states of nature without referring at all to specific shapes and forms found there. It is a messy formalism that emerges out of the plastic materials of painting itself. If one finds the work somehow evocative, or finds oneself having a personal relationship to these obdurately abstract objects, it is only because they come into existence at the hands of a painter who is passionately interested in the world around him.