As is the tendency in summer reruns of a gallery’s stable, very often the lesser publicized members come off surprisingly well. Electric by Ruscha is the Pop selection. Derived ultimately from Johns in the redundant collision of typography selection, blended and flat illusionistic color, and direct placement, it glows with matter of fact obstinance.

Craig Kauffman’s mechano-organic constellations almost demand the third dimension of relief or sculpture. Having floated his shapes upon clear plexiglass they even now carry about a cast shadow. Corporeal reality may too suggest itself as the flanking diversionary tactic of Ed Moses. Past paper constructions have appeared fruitful if hesitant. Three recent drawings, floral diagrams loaded with potent minutiae, register an inward turned attention to the autographic gestures of his finger tips.

Besides Bengston’s multivalent, permanently spatial halations and a recent eroded candy piece by Price, also included were Bell, Blair, Irwin, and Ruben.

—Fidel A. Danieli