"[A] show that mingles classic modernism with contemporary modernism is “DNA: Strands of Abstraction,” curated by Paul Sinclaire and staged by Loretta Howard (through August 2). The first painting that hit me as I walked through the door was a very striking, though somewhat minimal, yellow painting by Shirley Goldfarb, “Yellow Painting #7” (1968). I remembered that Goldfarb had been included in Howard’s “young Americans in Paris” show last fall, but I hadn’t been impressed by her work in this show – so unimpressed that I passed up the solo exhibition of her work staged by Howard this spring. Now I’m sorry. And there is other, even better vintage work here, too, from the 60s & 70s by Frankenthaler, Olitski, Noland, Dzubas & Poons. The Noland is particularly lovely—a lozenge from 1966 with green, blue & white diagonal stripes. It can be hung either vertically or horizontally (though actually, I preferred the vertical hanging in the show). Also, a host of younger artists whose names were unfamiliar to me, but whose pictures (all done within the last few years) are clean, crisp, neat, outstandingly decent and sometimes even more: the pieces by Jonathan Allmaier, Noam Rappaport and N. Dash were unusually nice. Again, this is a case where the overall impression created by this show is at least equal to the sum of its parts, and maybe more—light, airy, pretty, Apollonian as opposed to Dionysian, modern utopianism as opposed to pomonian dystopia. The kind of show that leaves you with a happy feeling inside."