The wealth of “Op” art to be viewed in museums and galleries these days predicates the possession, if not the actual use, of Mother Sill’s as standard art tour equipment. The need is less pronounced than usual at the Comara Gallery which offers a pair of “Op” art specialists whose mathematical presentations seem interesting though restricted. Arthur Jacobs constructs shallow boxes which feature painted geometric compositions as backdrops for the lacing of taut white strings an inch or so off the picture plane. Precisely planted brass brads assist in changing the direction of the strings as they develop their intricate patterns. The works are flawless in their technical craftsmanship but the similarity of solutions to be found in the single exhibit tend to veil individual triumphs.

William C. MacArthur, working in polymer, is more directly interested in the mainstream of the “Op” movement—spirals whirl, colors vibrate, squares jump and sensibilities go into orbit. His devices are triggered to fool the eye, inspire vertigo, encourage nausea and otherwise entertain and exhilarate the enthusiast.

—Curt Opliger