Two new additions to the gallery’s stable are included in this exhibition. Jeryl Parker shows etchings in two distinct styles: abstract works with branching figures spread over dark groups and minutely detailed drawings of weeds in which delicacy of line obviates dryness. The other newcomer is Jack Carrigg whose interesting paintings have irregular ver­tical stripes in brilliant colors, and a speckled texture.

Among those who have previously shown with the gallery, Mary Dyess, a graduate student at the University of California, is a figurative painter of no consistent style. Most of her paintings betray her lack of conviction but her best work, a landscape with children flying kites, has a vitality that shows promise. Inez Storer shows a group of small collages and drawings of a gently whimsical nature, strongly influenced by child art but with a sophisticated manipulation of line and wash. Neal Christensen does small, cool, precision­ist works, mostly still-lifes. He concen­trates on super-sharp image making to the neglect of spatial organization, so that objects sometimes thrust forward arbitrarily or “holes” appear without apparent purpose. John Marsh tries to make his academic watercolors inter­esting by choosing straggly forest swamps as subjects but manufactured eeriness does not make up for lack of pictorial imagination.

—Helen Giambruni