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Joseph Cornell [Schoelkopf] is having a busy season. In addition to shows of box sculpture late last year, and collages executed in collaboration with his brother, the late Robert, he has reportedly produced this entire show of remarkable collages since January. Cornell's collages are every bit the equal of his recent boxes, and if anything permit him a liberty that the boxes tended to prevent: namely, the freedom to explore texture as a primary element. Nyack-on-the-Hudson, ca. 1910 is a photograph of a group of deer on somebody's lawn in pale yellow, blending smoothly into melancholic green surroundings on two sides; Uncertainty Principle is a medallion gleaming through a surface in battered white. For Cornell, traditional painting appears to be another ramification of his liking for old textures. There are works in homage to Giotto, Gris, Magritte. His hommages are never pastiches, however; and among the strongest collages were three Images Flamandes. There is even a delightful, relatively blatent "Pop" comic-strip frame of two robins conversing in blank balloons. The old intensely poetic, lyric attack remains the uncommon denominator. [1966] M.B.