With art historian Pamela Allara as consultant, and a catalogue essay by critic Theodore Wolff, this exhibition constituted the first scholarly overview of the art produced in Boston in the postwar period. As such, it was welcomed. Unfortunately, both Allara and Wolff predicated their theses on a single, seriously flawed premise, arguing unconvincingly for a conceptual continuum among three generations of Boston artists. (As one member of the current generation commented privately, “When we were in school, artists like Jack Levine were mentioned with a sneer. We were looking at Jim Dine, or the