Subtle color manipulation and sensuous brush (or knife) stroke seems to concern John Haley more than special statement. His exhibition fills one large and one small gallery and, while not allowing for study in depth, does trace changes in his approach. He has gradually changed from small brushmarks laid on one by one, creating vibrating color effects but clinging dangerously close to Mondrian’s plus-and-minus compositions, and to Guston’s early non-objectives, to his current large canvases making firm and judicious use of palette knife. These latter show an original and personal kind of controlled expressionism with color as structure and a persuasive surface quality.

—E. M. Polley