Judith Dolnick, the painter’s wife, exhibits a group of acrylics, some of them tondos, far less problematic in their appeal. Her facility in watercolor is authentically transferred to these larger works, not as ambitious and risky as her husband’s, although they contain some of the same motifs. Her strength, a relaxed and fluent handwriting of wavy filaments and burbling clouds, is also marked by a certain weakness—the tendency, once again, to be episodic. She may compose out from the center or spot more disparately, but in either case the margins are comparatively unemployed in the ensemble, even when they are occasionally reached. A happy and natural touch, a fey whimsy, are assets that yet have to be modulated into a more substantial and emphatic grasp of the full potentials of picture making. Evidence is present that they may shortly be realized.

—Max Kozloff