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The article focuses on the works of Mary Beth Edelson. The author inferred that the strength of Edelson's art lies in the fact that it tends to go to the sources of female creativity. He averred that symbolism also played a big part for her exhibition at the Henri 2 Gallery in Washington, D.C. The author added that "Some Living American Women Artists" was created by Edelson to make a political statement about feminism.

The article analyzes the significance of the logotype in Marcel Duchamp's stock certificate designed by Douglas Huebler. With regards to the roulette wheel situated in the back of Duchamp's head, there is evidence that the letter Tau signifies his Monte Carlo Bond. It is said that Huebler's art shows that the ability to be integrated within the paradigms of nature determines aesthetic validity. The moral of the stock issue is that winning and losing in gambling are equally evil.

The article discusses the influence of the Dutch painter Piet Mondrian to the works of his American followers such as Harry Holtzman, Charles G. Shaw and Ilya Bolotowsky. Shaw's work is seen to have echoed the indecision in 1930s American abstraction, while Holtzman is considered as the true eccentric of the group, with his own artistic use of Pure Plastic principles. Bolotowsky is absorbed with Mondrian's stylistic handwriting but with no clear grasp of its evolutionary optical principles.

The article focuses on the approaches used by artists in contemporary ritual, a form of documentary art which enacts historic ceremonial events. It claims that plastic art allows the activity to look more appropriate and more civilized. While most artists are convinced that ritual is an interface between nature and culture, others choose to adopt the concept of anti-ritualism. Meanwhile, sculptor Newton Harrison believes that one's homage to life-support systems can make ritual more efficient.

The article discusses the relation of universals or archetypes to the themes of art, theater and dreams. It is acknowledged that universals account for the formation of three basic types of human communication, referring to speech, gesture and iconicity. Psychiatrist Carl Jung is the modern scientist who first suggested this relation. Jung's theory reveals that the hope of maintaining the code of universals is transferred to inanimate objects like paintings and sculpture.

The article discusses the philosophical theory of the creations of end game arts. It recognizes Marcel Duchamp as one of the artists who used games, particularly chess, to construct an ideology of complete conflict in the 1960s and 1970s. It offers explanation about the connection of end games and ancient conflict, and informs several figurative artworks made by Duchamp. Meanwhile, it claims that the artworks symbolize the real tragedy happened in the ancient time.

The article offers information on the aesthetic device called the Chocolate Grinder in a painting which functions as a dialectical program. Its revolving rollers determine the devolution of the triadic structure controlling nonobjective art. The nickled chassis reminds that iron, which is described as the Alchemical metal of lust and blind carving, is an underlying element of the machine.

The article examines the techniques and themes of the artworks of Marcel Duchamp. In his artwork "Large Glass," his main goal is to create a predictive device that is designed to chronicle all the final stages of art. Meanwhile, his "Bachelor Machine," is considered as an interpretation of the cabalistic Tree of Knowledge. Critics of the artworks of Duchamp point out his repetitious use of the triadic theme in the iconography of "Large Glass."

The article discusses various perspectives of quality in art. It cites the statement of author Robert Pirsig when he said that quality is subjective rather than objective because it does not reside in the material world nor in the mind. On the other hand, it states that quality in art is both reductive and deductive and implies a rational and causalistic perspective of the present through the past.

The article provides information on the art studies in Nova Scotia. It has been noted that the school program in the area comes in three division, namely environmental design, fine arts and crafts, and the media sector and workshops. It has also been noted that by the end of 1974, it has been expected that college's shops and galleries will be properly established.

The article presents an author's view related to the juncture of contemporary art in the U.S. According to the author, contemporary art has finally arrived at its critical stage of crisis due to the dissolution of the component structure of art, as well as the material disintegration of the art object. A brief history on the creation of contemporary art is also offered. It was inferred that art has depended mostly on fairly explicit set of conceptual techniques.

The article analyzes the meaning of the cruciform tableau titled "Hearing," by Robert Morris. According to the author, Morris' tableau reflects the spiritual crisis of the contemporary art. A detailed description of the elements of the cruciform tableau is offered. The article also presents images of the arrangement.

The author reflects on conceptual art. He states that the manifestation of conceptualism differs in complexity and concerns primarily with the art historical development. He believes that conceptual art provides people with an understanding of the environment particularly in the everyday life. Works of artists Douglas Huebler, Lawrence Weiner, Joseph Kosuth and Robert Barry are presented. The author also concludes that the future of conceptual art is dependent on its ability to influence artistic behavior and not on any success as a commodity art.

The article focuses on the cancellation of an exhibition featuring the works of artist Hans Haacke at the Guggenheim Museum in Manhattan, New York City. It cites that the proposed show consisted of a three-part investigation into physical, biological and social systems. Museum director Thomas Messer is said to have reservations about the social systems. It notes that abstract art of the 1930s in the U.S. was synonymous with the political traditions of Cubism, Dadaism and Constructivism.

The article discusses the views of French artist Marcel Duchamp on works of art. Duchamp discovered that all works of art conform to five types of sentence structure, which are simple sentences, compound complex and ambiguous sentences, ready-made utterances, elliptical sentences and sentences with some disagreement between subject and predicate. He discovered that these sentence structures have a particular diachronic relationship to each other.

The article examines the representation of astrology and mythology in the works of painter Marcel Duchamp. It explores the meaning of the four primal elements in "The Large Glass." It notes that the machine with five hearts in "The Green Box" symbolizes the Great Pyramid while the pure child of nickel and platinum is an allusion to the Philosopher's Stone. It states that the "Young Man and Girl in Spring," depicts Adam and Eve as siblings who suffer expulsion and live as man and wife after Eve's partake of the Tree of Knowledge.

The article presents some passages from different people with regards to the subject, problems of criticism. It includes Robert L. Herbert's description of John Ruskin's ambivalent feelings towards the usefulness of science, comment of Barbara Rose upon reading art criticism, and a passage from Cioran with regards to individualism.

The article discusses the work of artist Les Levine. According to Levine, no artist has ever received any more attention in the media than he deserved, because the media inherently define worth. He is considered to be an idea artist and has had 20 one-man exhibitions in two years. He frequently lifts or synthesizes ideas in the air and his uniqueness lies in dealing with these as amplified art information.

The article reviews the exhibition "Dan Flavin: A Retrospective," at the National Gallery of Canada in Ottawa, Ontario from September 13 to October 19, 1969.

The author compares art to an archaic information processing system. He argues that programming the art system has similar features found in human brains and in large computer systems. He asserts that artists, at the basic level, are similar to programs and subroutines since they prepare new codes and analyze data in making works of art. He further asserts that the activities of artists are supervised by metaprograms, composed of instructions, descriptions and the organizational structures of programs.

The article focuses on sculptor Mowry Baden and his works. According to it, his sculpture lacks elegance, subtlety and the lure of visual involvement. It states that art is considered by Baden as the self-awareness generated in the completion of a specific task. Included in his works are the Phantom Limb two gimbal-cast polyester shells and Stop Gap egg-shaped obstacle.

The author comments on the views of Terry Fenton about Constructivism. He explores the idea that Dadaism and Constructivism demonstrate a fundamental provincialism. He explains why Fenton had much difficulty finding great works which have been inspired by Constructivism. He argues against Fenton's statement that didactic art is inevitably judged in terms of social relevance.