Artistically oriented technologists, as well as technologically oriented artists, were represented in the small but diversified selection of machines, electronic devices, optical systems, constructions, and kinetic sculptures which comprised the inventory of an exhibition entitled “Kinetic Light Show” recently presented at the Galeria Carl Van der Voort. Carson Jeffries, a professor of physics (UC, Berkeley) currently collaborating in an interdisciplinary symposium involving relationships between recent developments in physical technology on the one hand, and the graphic, plastic and performing

A large selection of serigraphs by the Canadian artist Toni Onley was exhibited recently at the Graphics Gallery. Onley’s style of evoking landscape recollections in abstracted, simplified forms and muted pastel colors is unique. It is nature’s quiet moods—the placid majesty of forest vastnesses, the stillness of mountain lakes and the somnolence of mead-owed hillsides and hidden valleys that provide the theme for these tranquilizing works.

—Palmer D. French

At the Arleigh Gallery, Gordon Yamamoto exhibited a dozen witty, burlesque charades in leather and in wood (with fittings and incidental accessories of brass and various other materials). The leather pieces were flamboyantly casual cowhide novelties, such as Banana Blanket—Combination Summer & Winter, a small holster-like leather envelope with optional fur lining encasing a banana. Bawdy allusions, visual puns and double entendres abounded, as well, in other cowhide exhibits entitled My Marbles, Zipper, _Dilation, Girl’s Bicycle Seat and Marshmallow Cartridge Belt. Three carefully crafted walnut

At the Quay Gallery, Alexander Nepote exhibited collage paintings executed in acrylics and paper on masonite board in a method and style strongly recalling the collage technique of Don Reich. Nepote’s recent work competently essays a familiar idiom of lithoid, organic free-form composition to which his chosen medium is uniquely suited—the torn edges and flattened crinkles of stiffened paper being readily adaptable to suggesting the ridges and corrugations of natural rock surfaces. In a prolific series embracing such titles as Mossy Rocky Niche, Rocky Slope, Lost Rock, Under the Cliff, Another

Geometrically schematized forms derived from variously combining segments of H-beam, I-beam, cylindrical pipe and other foundry-standardized structural steel elements were the subject of an exhibition of recent sculptures by James Prestini organized by the San Francisco Museum of Art. The almost doctrinaire Bauhaus viewpoint which Prestini acquired in his long affiliation, first as a student and later as an instructor, with the Chicago Institute of Design in the 1940s, persists in his current work and in his expressed artistic platform. Prestini plates his basic steel elements with nickel or