As a coherent presentation of an art which is overpoweringly theatrical, an environmental art which literally assaults the eye, the ear and the skin, and as a nominally esthetic array of complex, skillfully crafted technological devices, Ralph T. Coe’s Magic Theater at Kansas City’s Nelson Gallery surpassed anything of its kind that I had ever seen. This was the third and by far the most ambitious of Coe’s “psychic art” shows, though most of the eight artists represented had figured in his earlier productions. Having been more or less familiar with the work of each, and having in advance read