These are, for the most part, Matisse-like paintings in their clear bright color and minimal paint application. We get a surprising opening up of space in paintings dealing with the nude in an interior. An accompanying set of crayon drawings, light and effervescent in touch, serious in purpose, expands on this theme and permits an examination of her procedure. For all of her many merits, she is dominated by flux, a collage freedom of change, or an arbitrary fill-in approach which disrupts the unity, pacing of moves, and spatial position. As well as in a geometric series of circle signs, she seems always on the track of an interesting idea, marred by thin or unfinished repainting. It is as though organically arrived at conclusions were to be uniformly avoided, should they ever appear.

—Fidel A. Danieli