ABSTRACT
The art world had become a place of corners and niches, some more central, more elevated than others. In the alternative spaces, the new mediums busily evolved. Minimalism was seen chiefly at the John Weber Gallery, color-field painting at Lawrence Rubin and André Emmerich. Lyrical Abstraction obtained a foothold at Emmerich and Max Hutchinson before drifting from sight toward the end of the seventies. Though Holly Solomon specialized in pattern and decoration, she had room on her roster for Nicholas Africano, a New Image painter. Others bearing that label showed at Willard.
