An April visit to Rose Rabow’s Russian Hill living room. Fred Reichman: a wintry, low-keyed portrait of a tree, with a characteristic activation of negative space into something very positive. Also a mouse and branch painting in the inimitable Reichman cocoa. Julius Wasserstein: now to be with Dilexi, showing an action painting with a vigorous, semi-calligraphic whoosh which wants to expand beyond the limits of the frame. A long, thin hunk of color and movement—to that Procrustean frame. Just when Gordon Onslow-Ford seems to have caught himself in the web of his circles, lines and dots, and bogged down in the narrows of unvaried black and white—then we see that the possibilities of his style are far from limited. Two examples: one seems to look up to the firmament, to toss us out among the stars, the other looks down at the world through an ack-ack of linear activity, first static, then full of movement. The first has an effect of light and shadow not seen in this artist’s work before. Onslow-Ford has never quite subscribed to the lighting conditions on this planet. Some radiant Bowmans on hand too. Mrs. Rabow will soon add Jerrold Davis to her stable, to further confirm her position as one of the most quality-conscious galleries in the west.

—Arthur Bloomfield