BRIDGEHAMPTON, N.Y. — There was a moment earlier this decade, during those last , panting moments when we all still revered technology companies , when some Silicon Valley dreamers informed us that they would transform the market for painting. Get ready, they told us, for the rise of nifty 3D printers and the death blow they would deal to artistic creation. Any object could be called up in minutes! New art would come straight out of the extruder! Perfect replicas of masterpieces would become universally accessible; every Van Gogh and Velázquez might soon be worthless.

Any artist could have informed them that this was a category error. Painting is an artistic medium, not a technology in itself. And painting, like every artistic medium, acquires meaning, importance, and indeed financial value through a complex net of perceptions that stretches well past the surface of the canvas.

Few painters today engage with the challenges of new technology as persuasively as Jacqueline Humphries, who is presenting an ambitious and formidably intelligent exhibition of fresh work at the Dan Flavin Art Institute — housed in a former church here in the Hamptons, and managed by Dia Art Foundation. Upstairs, Flavin’s sculptures of fluorescent tubes cast their light as usual against the institute’s white walls. Downstairs, Ms. Humphries is presenting 10 new works that also glow, thanks to fluorescent paint jobs and overhead black lights. (It’s O.K. if your white shoes start shining; Labor Day came early this year.)

Though some first appear to be canvases, none are “paintings” as such, or at least not paintings as we usually understand them. Most are in fact resin objects, some made by casting pre-existing paintings with traditional molds, and other produced by — what do you know?! — 3D printing.