One of the more obvious Maxwell omissions in this latter area was compensated for only a few blocks away in the Reese Palley Gallery’s showing of a selection of works by the late Milton Avery, whose sometimes lyrically poetic, sometimes blandly humorful, and often decoratively composed stylistic and quasi-abstract impressions of landscape, figures, birds, plants and trees, deriving from and modifying many mannerisms from turn-of-the-century organic free-form idioms, blended well with the faint echoes of Van de Veldian Art Nouveau lingering in the opulent, sweeping curves of spiral ramp and circular ports as well as in the architect-specified, convexly glazed electric lighting accessories and suspended arrangements of artificial plants which characterize the Frank Lloyd Wright building occupied by the gallery.

—Palmer D. French