The San Francisco Art Institute’s Annual Invitational Drawing Show was, as usual, interesting and stimulating. Keen intelligence in exploring the resources of various graphic media was a hallmark of most of the work exhibited. By tradition the designation “drawing show” adheres to this event, although its scope has been broadening over the years to encompass an ever greater range of graphic media, including painting on paper, collage involving the use of paper and/or textile materials on almost any ground, and, of course, most recently, various uses of polymer materials (other than as paints).

An exhibition entitled Vienna School of Fantastic Realism at the San Francisco Museum of Modern Art purported to survey “significant impulses” from Austria, and was comprised of work by 15 painters. The ostentatious and trite promotional rhetoric in Alfred Werner’s preface to the shabby little catalog being circulated with the exhibition was futile advocacy in view of the blatant mediocrity and intellectual bankruptcy evident in the majority of the works shown. Ernst Fuchs stands alone in the sad company of his co exhibitors as representing at least a respectable degree of artistic integrity

The Hansen Gallery recently featured free forms in blown glass by Marvin Lipofsky, a pioneer in the contemporary revival of free blown glass as an art idiom, and who was chiefly responsible for the organizing and equipping of a glassblowing studio foundry at the Berkeley campus of the University of California.

Professor Lipofsky’s exhibits seem chiefly interesting for the truly impressive diversity of unique colors and textures achieved by combining glass with various metals and other pigmentive materials. In form the pieces are all basically bulbous or tubular. Esthetically the most intriguing