Reginald Pol­lack and Cecil Michaelis are the ex­tremes of this middle-of-the-road group. Pollack merits a lengthier discussion than we have space for. His gay, open color is applied in flickering, wind­blown strokes with shapes sometimes indicated in quick, sensitive line. As a change of pace, his small Twilight Still-life, an angular abstraction, reveals his concern with printmaking. Michaelis, while painting white city­scapes, manages to shed tradition, ex­cept as a defender of basic pictorial values. His awareness of space tensions  lends vigor to alleys and streets which could become tiresome. Jane Wilson’s figurative landscapes, painted with great spontaneity, evoke a very special atmosphere. The landscapes of Jane Freilicher, also of the contemporary figurative school, are more contrived. Jason Schoener, who winters in Cali­fornia, paints pure poetry at times, and becomes positively saccharine about misty-moisty San Francisco sunsets. He reverts to his usual crisp, well or­dered understatement on other sub­jects. Among Dora de Larios’ ceramic sculptures, Warrior, which somewhat resembles a Haniwa grave figure despite its Samurai attitude, is by far the most exciting.

—E. M. Polley