The Whitney Museum’s two new Associate Curators, Marcia Tucker and James Monte, assembled a show called “Anti-Illusion: Procedures/Materials” during May and June which was initial evidence of the Museum’s updated interest in giving a more specific showcase to radical contemporary work (aside from the institution’s regular painting and sculpture annuals). Included in this programmatic-sounding rubric was a week of extended time pieces—films, electronic music concerts, and motion-time performances—related in concept or method to the sculptures and other works installed in a (somewhat

Exhibitions like Les Nabis, comprising, as they do, central figures, vacillators and hangers-on, tend to be interesting in the degree that they include work by rarely-seen and marginal practitioners. The present installation at the Albert Loeb and Krugier Gallery is by moments an arresting charivari of stars—Gauguin, Émile Bernard, Maurice Denis and Paul Sérusier—but it is much more compelling historically when it points up the stylistic relationships between such second stringers as early Maillol and Paul Ranson. It is fascinating when unanticipated pictures by obscure members of