The Esther-Robles Gallery is showing a group of new works by gallery artists. Some of the most interesting are younger sculptors and object-makers whose work has rarely been exhibited.

Vincent Kruger has been working in Los Angeles for about a year: he comes originally from Canada and is a professional architect-designer. All but one of his works here are silk-upholstered. East-West (1967) is the largest, measuring 44 x 56 inches. It hangs from the ceiling like a thick canopy, splitting away from the top into two concavely turned segments. The outer surface is covered in blue silk, with orange

“Artists’ Artists” at the Lytton Center of the Visual Arts is an exhibition of samplings from the collections of twenty local artists. The idea isn’t a bad one, but in the last analysis one doesn’t learn very much about the artist-owner through his choice of acquisitions. For example, the fact that Kenneth Price happens to possess works by Altoon, Bengston and Ed Moses is hardly unexpected; neither does it indicate anything surprising about his sensibility. To exhibit a Diebenkorn and a Lebrun from William Brice’s collection seems almost too obvious to be true—one would prefer rather to be

An exhibition of small terra-cottas, bronzes and drawings by Reuben Nakian is at Felix Landau. Most of the works are from the sixties; all but a few are involved with classical idyllic imagery. The pervasive subject concern is with antique archetypes of female eroticism: Leda and the Swan, Europa, the nymph and the satyr.

Most of the terra-cottas are sgraffito drawings, characterized by sparse, fluid delineation. Two Ledas (1965) exemplify these at their best, exploiting the sinuous linear potential of the traditional composition, transformed into a distinctive (if Picassoesque) idiom.

Remarkable,

Recent paintings by Duayne Zaloudek, who lives in Portland, Oregon, are on display at Comara Gallery. Zaloudek’s limited imagery is so precious that only a superbly refined treatment of the forms could sustain the works serially. As it is, they become tedious. The primary image is a bilaterally symmetric circular form, like half of an apple (Emerson Woelffer uses it repeatedly), with a stem-like appendage. This shape is surrounded variously by balloon-like forms and jagged edges organized on a horizon-field basis.

The original bilateral form, as Zaloudek conceived it in his earlier, simpler works