The Berkeley Gallery introduced new trends in the work of two Bay Area artists in its successive presentation of exhibitions of paintings by Patrick Tidd and by Harry Lum. Tidd, whose work of five years ago presented the viewer with an interesting ferment of ambivalent experimental groping which could have developed in any of a number of quite divergent directions, seems now firmly and rewardingly set on a course which has already produced an ample aggregate of thoroughly engaging canvases, falling into two groups: (1) hard-edge, “abstract charades” of strangely juxtaposed imagery and visual

Barbara Rogers, recently exhibiting paintings, drawings and mixed media graphics at the Michael Wallis Gallery, combines highly sophisticated techniques of painting, sensitive draftsmanship, and an extremely personal, perceptive wit in delightful, quasi-Surrealistic charades fusing social satire with subtleties of psychological mood. Egyptianesque hawk-headed people in cocktail party conversational stances and other playfully absurd zoocephalic humanoids populate Miss Rogers’ paintings and drawings; a lion-headed nude female figure, reminiscent of the Theban goddess Sekhmet, rendered in an

Opening at the Wallis Gallery as this goes to press was the first West Coast exhibition since 1954 of work by the Harvard-based Robert S. Neuman. Mr. Neuman’s paintings in oil on linen of four and five years ago present a survival of Abstract Expressionism, intellectualized, tempered and suffused with a mellow, no-doubt Harvard bred, academicism; some more recent mixed media drawings (1966–67) have, however, engaging vitality. Crisply stated geometric shapes and astringent linearities are skillfully manipulated in two series entitled, respectively, Mirage Studies and Voyage Drawings. In these