Opening on October 30, the Whitney Museum of American Art’s retrospective of American painter Frank Stella fills the institution’s fifth floor with decades’ worth of genre-busting experiments with pigment, metal, wood, shaped canvas, and other materials. Not everything works — some of Stella’s output is downright gaudy — but the curators here mingle the artist’s varied styles and signatures, so that staid, serious Minimalism abuts lurid, screaming multimedia assemblages. We move from paintings made in the late ’50s in New York — like “Delta,” 1958, with its nearly Satanic mix of glossy black and oxidized-blood red — to blaringly bright abstractions in the ’60s (“Palmito Ranch,” 1961, is a personal favorite, with its horizontal bands of bold yellow, like a hallucinatory, painful sunset) and tortured masses of intertwined metal in the ’80s, ’90s, and ’00s. Stella’s general progression over the years has been from a confined geometric fastidiousness toward a bolder, more chaotic embrace of multiplicity — sometimes to a fault, which is why cruising this packed exhibition can feel a bit like being attacked from every angle, albeit in a pleasant way. Here, we’ve selected 10 pieces that showcase Stella’s unique, and ever-evolving, vision.