At first glance, Gregory Mahoney’s “paintings” appear to draw upon the reductive tenets of hard-edge abstractionists such as Ellsworth Kelly and Leon Polk Smith. Viewed collectively, their impact seems hermetically formal, exploring the basic parameters of the picture plane (shape, edge, surface frontality) as well as the interplay of positive and negative space within the gallery environment as a whole.

On closer examination however, the work discloses references to the natural landscape, particularly the desert, mountains, and ocean of Southern California. Mathematical geometry thus acts as an

Questions about our abuse of the Earth and its inhabitants, human and otherwise, were at the heart of Rachel Rosenthal’s newest performance piece, Rachel’s Brain, 1987. In this solo work, which she performed at the Los Angeles Festival, Rosenthal explored Arthur Koestler's assertion that “the history of science, philosophy and art is the slow process of the mind learning by experience to actualize the brain’s potentials” (from Janus, 1978). In Rosenthal’s view, all of our mistakes, including our arrival at the brink of destruction, are due to the fact that our species was provided with an organ