A heterogeneous assortment of works by thirteen well-known names, includ­ing three bronzes by Emerson Woelffer and ceramic plates by Peter Voulkos. Ranging from such decorative whimsy in oil as Edward Newell’s Pink Pussy Cat, to Untitled, a satisfactory drawing with monotone wash by John Altoon, the display is unsettling, as the over-all effect is esthetically shocking, emphasizing the bizarre.

Dennis Hopper’s Presto, photo print technique with a live, working metro­nome attached is a sample, as are Antony Berlant’s construction paint­ings-a pink body shape wearing real black lace panties and a stuffed black bra enclosed in blood-red canvas dra­pery. The other, Janice, a veritable arboretum composition of a black shape against a chintzy background, wearing of course, flower pattern panties and flowery stuffed bra. His Camel Sand­wich is an assembly of cigarette ad assortments with a blonde girl child eyeing you over a sticky sandwich, which should make everyone stop smoking immediately.

Emerson Woelffer’s Reflections and Black Hands, is an upside-down, over­sized apple-shape painted in French blue with real black pigment hand­prints. As the field of art has been in­vaded by every contrived, deliberately bizarre statement, predicated on used, found and assembled objects, Dennis Hopper’s After the Fall, comes as no surprise. This oversized involvement shows a photographic copy of a blown up woman’s face which has been smeared and vandalized, framed on one side by five shining tissue dispensers (with fresh tissue) terminating in a shining holder with a roll of floral­ print tissue paper. Somewhere towards the middle an empty, red fabric, heart­shaped box is attached-and the left side of this work of art is framed by a top to bottom aluminum down drain with a shining waterspout.

This is a gimmick-ridden exhibition without esthetic value, and the gim­micks are tasteless, contrived and de­rivative.

—Betje Howell