It is more than just the vagaries of fashion or the recent focus on geometric abstract painting that has rekindled interest in the Minimalist paintings of Jo Baer. Her works seem to be imbued with a kind of probity, a sense of relentless logic and structured accomplishment that is refreshing. There may be a faint air of nostalgia to such interest, a wished-for return to the issues broached a generation ago. The seven Baer paintings in this exhibition, done between 1962 and ’72, address the “classic” agendas of Minimalist painting: its concern with the painting as a physical object, its interest

Evelyn Statsinger’s recent paintings are obsessions: images of great personal fantasy subjected to even greater pictorial manipulation. Nature percolates in and around her pictures, its substance rendered into painstaking and fastidiously described pattern. Statsinger’s motifs bear a kind of decorative magic, which is realized through a sinuous interlacing so constant and intense as to evoke memories of Celtic manuscripts. Line and contour drive these paintings assuredly to their conclusions, leaving subsidiary issues such as color and space in their wake.

Statsinger interprets nature as botany,