The finest moment one has with a sculpture by Tom Czarnopys is almost invariably the first. There is drama in that initial encounter, a sense of shock and a pang of pleasure in confronting work with such bravura presence, in perceiving Czarnopys’ consummate craftsmanship, in enjoying the effects that he realizes. For that special frame of time, these technical wonders seem to breathe with life, magically forestalling all questions of content or intent.

Czarnopys’ sculptures are usually made by taking a body mold of part or all of a human model—often himself—and making a cast from that mold in

It is difficult to imagine more charming and seductive paintings than these by David Russick. In canvas after canvas, a sharp sense of graphic design is fused with an inventive and playful use of diagrammatic imagery, creating episodes of pictorial understatement that nonetheless speak volumes. Russick provides a base for his ruminations by laying out hard-edged and severe pictorial fields. Over these he renders easily identifiable objects—cups, baseball bats, hands, stretched canvases, oars, spools, pipes—sometimes singly, sometimes in odd combinations, all realized with simple unvariegated,