The group show of a dozen artists pro­vides an excellent coverage of some very good painting being done today. New to the Los Angeles area is the work of James Suzuki, now teaching at the University of California at Berkeley. His Marco Polo’s Dream and his Shattuck and Woolsey are forceful statements in strong color that combine elements of strict control with areas of rapid action painting. Ohno, from Kyo­to, achieves an unusually sensitive ex­pression with a large burlap form on a delicate grey ground. Compatible in mood is the understatement of the Australian Frank Hodgkinson. Really exciting in the neo-Dada vein are two pieces by Dennis Hopper. The ingenui­ty of Hopper lies in his extraordinary choice of the “found object” and the presentation of it that confronts the viewer with both the object and the photograph thereof. In Chiaroscuro a third dimension of shadow is added to three wonderful old wig blocks. The craftsmanship and imaginative handling of the subject are superb. In contrast, Anthony Berlant comes up with not much more than a scrap pile of assorted elements from the bureau drawer. Jack Hooper’s recent pieces that employ a lightweight foam plastic and a metallic coloring are also quite elegant. Emer­son Woelffer’s mirror series deserve serious consideration. Associated with the San Francisco area, Robert Loberg, Peter Voulkos and Joan Brown are well represented, Peter Voulkos by both painting and sculpture. Hosiasson and P. Annon complete the showing along with Ulfert Wilke, whose two-dimension­al bronzes, like tablets embossed with cryptographic markings, call to mind Mark Tobey’s “white writing.” Curiously, Tobey collects Wilke.

––Constance Perkins