The sculptures of Nigel Hall at Nicholas Wilder Gallery are quietly assertive works whose contribution is unique in arousing strong kinesthetic sensations and unusual manipulation of very slight volumes. His recent works, of the dozen and a half produced during his year’s visit to Los Angeles, are made of industrially prefabricated aluminum units altered with and accompanied by shapes of fiberglass. Though in his working drawings the barest linear marks appear, the sculptures are not linear in the sense of “drawing in space,” for the parts are not simply connecting points or descriptions of

Jackie Greber, at Molly Barnes Gallery, is realizing dimensional biomorphics within Plexiglas boxes. Utilizing a method similar to that exploited by Zammitt and Rauschenberg, she is painting a portion of her configuration on each of four or five panels of clear plastic which are held overlapped in place as box constructions. Though a sculptural solid, the box is of little importance, for the illusion, a stereometric fusion, takes place in a fixed viewer position exactly in front of the front plane. Except as the illusion can be explained there is not much point to viewing the structures from

At a time when some critics hold that figurative impulses are thoroughly exhausted, Paul Sarkisian, at the Pasadena Art Museum, is painting highly personal and ambitious works of high quality. Nor is he simply dealing with figures, but that standard studio subject, the nude; and then, nudes treated allegorically. It is a tribute to the artist that he has successfully resuscitated this totally disregarded mode. Though he readily admits to the influence of Pop art five years ago (but confirms only a few of its basic tenets), there is little that prepares one for the impact of these paintings.