Milton Komisar’s adaptation of traditional forms is so indirect, his experimentation so flamboyantly original, that his medium evades exact definition. In a period when art is dominated by “historical” materials of oil paint, bronze, wood, and marble, while popular culture is pervaded by rapidly evolving electronics—particularly computers Komisar merges high art with high tech in his computer-programmed light sculpture. His work is admirable simply for attempting to grapple with new technologies in order to discover expressive means that are intimately of our time. His use of the computer in

Robert Hudson is now 47 years old. If you were looking for a clear overview of his progress, this exhibition of 24 years’ work was small help. The immense selection was too large for the allotted space. A jumble effect predominated, and a general fractiousness ensued. Because jumble is inherent in the work, its doubling was unfortunate. Hudson tends to generalize his materials, and the show tended to generalize his art, especially in terms of color. There were sculptures, paintings, combines and constructions, drawings with and without collage, and ceramics ensconced in vitrines. The overall