This is an intimate presentation of one or two paintings each by members of the gallery’s small regular stable, a few of whom have had one-man shows during the past season. Since last year’s group show, most of these artists have begun to explore new directions or have discovered expanded possibilities in their established methods. Gordon Onslow-Ford has introduced a sparing use of color into a still predominantly black and white palette. He has abandoned those crustily busy systematic constructions of ringlets, spirals and splintery lines, for a refreshingly fluid mobility of shapes and rhythms from which emerge lyrical allusions to nature. Jerrold Davis has evolved a sensitive and moodful landscape idiom and has turned from impasto relief images to an evocative use of thin paint washes. Fred Reichman continues to strive for the ultimate economy and simplicity of statement. His conjuring of a pine tree and a lake with a few deft strokes of color bisecting a white canvas reaffirms the Nordic melancholy of an earlier period of his work. Richard Bowman continues his parallel series (kinogenetics and environs) in a vibrant colorism exploiting particularly the catalytic optical interactions of violet and yellow. Mr. Bowman’s experimental preoccupation with interference and refractive phenomena classify his disciplines as neo-impressionistic.

––Palmer D. French