In this group the simple, serenely grey, but tonally dramatic, almost geometric paintings of the Nova Scotia-born artist, Max Bailey, are particularly noticeable, perhaps because he establishes a mood, whereas the more usual Hobbs Gallery artist is most interested in the tactility of the paint, and abandons himself to the sensuality of the process. McChesney also attains a sense of romantic atmosphere.

John Stevens has a painting here in which aluminum skin is formed into a continuation of the impasto paint. His other work in this show is a floor standing painted wood sculpture. Colburn’s freely brushed watercolors incorporate much of the white paper into a scheme suggesting rocks and sea. The personal styles of Saccaro and the two Siegriests are represented by typical examples. Gutierrez’ piece is a colorful collage in an overall grid of parts which are tacked on like shingles. Block and Coutois paint with concreteness of form in space. Hobbs has a violet cement foundation with chimes, stained glass, and red water which recall the eccentric inventiveness of Gaudi and Rodia.

—Knute Stiles