Ed Higbins, Robert Indiana, Alexander Liberman, George Cohen, Robert Goodnough, Leo Rabkin, Jack Youngerman, Neil Williams, Allan Jones, Gerald Laing, John Willenbacher, Agnes Martin, Richard Smith

There used to be a sort of show that was generally called something like “Master Drawings” and offered the cautious or neophyte collector an opportunity to buy original work by such artists as Picasso, Rouault, Chagall, etc., at easy-to-part-with prices. Now, though, the art market has changed. The new names command high prices and carry prestige to the collector who has the courage to hang their signature on his wall. The current Feigen/Palmer offering includes work by most of these “new masters”—Warhol, Lichtenstein, Oldenburg, Segal, Arman, Tinguely, Wesselmann, Bontecou, Peons, etc., and, in addition, work by their own stable of young painters.

Unfortunately, there is little here that could be called major. There are some nice representative examples, but nothing, really, that implies the importance of these artists. There are no Oldenburgs that equal the group seen recently at the Dwan Gallery. The Warhols are interesting pre-Pop illustrations of the sort of material he proceeded to use in his more recent work. The Peons is an interesting schematic drawing on graph paper that might serve to explain the plan of his paintings. The Bontecous are pleasant, representative examples, but, in this scale, lack the intensity of her constructions.

Most interesting were two small drawings by Agnes Martin, entitled “Field,” that were composed of a simple square grid, one in pencil and one in ink, Tinguely’s drawings of machines, a simple structural study by the sculptor, Ed Higbins, and a serial drawing by Allan Jones involving, apparently, the metamorphosis of a woman into a man. Also included were drawings by Red Grooms, Robert Indiana, Neil Williams, Leo Rabkin, George Cohen, Jack Youngerman, Richard Smith, Alexander Liberman, Gerald Laing, Robert Goodnough, and John Willenbacher.

Don Factor