Chicago Light Passage was a series of seven nighttime performances given by a “light brigade” of 16 artists and architects, a “field marshall” in charge of implementation and coordination, and John David Mooney, the sculptor who inspired and “estheticized” the plan.

First the practical aspects. Dr. Robert S. Rohde, a laser physicist presently with the U.S. Army Electronics Command, had early in his career been responsible for programming complex, precision, army marching drills. Using the same methods for charting sequences of interacting, overlapping, dipping, pivoting, intersecting, and fanning

Much of Alan Neider’s work has a certain inviting, untidy immediacy. He adds wooden blocks and beams to the corners and sides of his six-foot-square paintings, then streaks paint over the canvas letting drops, dots, and trickles mess up the wood. He also produces what he calls “collars,” rumpled configurations of untrimmed canvas dipped into asphalt paint and left to congeal with unsystematic pools of a tacky, shiny, greasy-appearing hue. A third project is “basement sculpture,” roughly four-foot-high structures whose glass and mirror bodies are dripped with yellowed, medicine-colored paint,

Jerry Saltz’s work, a “25-year project” inspired by The Divine Comedy, was begun on January 1, 1975, when he started to locate some 150 personalities living anywhere from 1321 to 1975 and, in a large conceptual piece, charted their potential position in the levels of Dante’s Hell according to their degree of evil. His subsequent explorations of Dante were more subtle. There followed his Ghost Sonatas, blueprint-type rubbings, and then the illustrations and altarpieces which are currently on display. At present, Saltz plans to make 100 illustrations and 33 polyptych altarpieces for Dante’s Prologue

“Strong Works,” an exhibition by 20 women, includes a majority of art that transmits the sense of unseen forces and the powerful impact of those forces on one’s personal world.

These forces may be rhythms in emotional and physical growth, as in Vera Klement’s painting, Sonnet, where hot “angry” colors are juxtaposed with warm “inviting” colors, and flesh tones are stroked over undulating tree greens. Or unseen forces may be represented by the intuition of some “personality” in nature, as in Carole Harmel’s photographic views of the creeping textures of strange, grass-covered, portraitlike rock.