The most interesting art event of the spring season was the show of new sculpture by Robert Hudson at the Michael Walls Gallery. Hudson has abandoned the jolly multicolored structures of earlier shows; the predominant if not the only color on display here was battleship grey. In a more fundamental sense, however, this work is consistent with, and builds logically upon, the gaily colored Surrealism for which Hudson is known. The outstanding formal enterprise here is a thoroughgoing discontinuity, a relentless twisting and disappointment of the viewer’s expectations.

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