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PAGE 2 Work Highly Acceptable The work in the present show is highly acceptable. This is said no derogatory spirit. Large numbers of artists have merely gone through the process of acquiring finish. This is highly commendable. I simply hope they have not lost the knack of kicking up their heels. Rising above the very good average are a few works that seem to me exceptional. Miron Sokolo poses a new problem with flowers casually strewn across a table and meets it impressively. Earl Kerkam's "Carnival Girl" ranks high. So does is Iskantor's "Night Interior," novel in arrangement, sound and sure in its pictorial fundamentals. Bumpei Usui’s still life is another fine thing. And Tschacbasov opens up a new layer of tempting devices for his richly banded farm landscape. Others worth stopping over are Gugliemi's "relief Blues," Louis Ribak's excellent "Change of Shift," Vincent Campanelle's strong landscape in the bleak vein, Paul Mommer's vibrant note on a "grey Day", Steven Maxoy's romantic landscape, Harriton's Sunny-side Landscape, Kopman's "Street in Far Rockaway", Stuart Edio's Farm scene, Kaufman's Jersey view, Marc Perper's skillfully handles "After the Fire," a charming fantasy by Yun Goo, Tromka's bold "Mining Village," and "Girl in the Mandarin Coat", by Nicholas Takis. Flatness Needlessly Stressed Joseph Stella is well up toward the head of the abstract alley, but the placing of his and other works in the wall flush with the surface needlessly emphasizes their flatness. Walter Quirt ingenously gives his forms a new twist, but we miss the old force. Alice Neel and Alexander Dobkin are young artists who show marked improvement. In the water-color section Reginald Wilson commands respect with his solid method. Others to be noted are Elsie Driggs, Julian Levi, Tony Mattei, Theodore Haupt, Oronzo Gasparo, Frederick Knight, Loron MacIver, Sol Wilson, Adolph Gotlieb, Jamos Guy and Fordinand Lo Pinto. NEW YORK WORLD TELEGRAM April 30, 1938 Federal display dramatic Another group show to open during the past week possessed more than ordinary interest. It is a comparatively small affair - a hundred pictures, to be sure, are enough for any exhibition, but compared to the Independents' one thousand, it is practically puny. It consists of oils, gouaches and water-colors produced by the artiest engaged on the easel division of the Federal Art Project, and is being presented at the Federal Art Gallery. (more)