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The article recalls the financial collapse of the Pasadena Art Museum in California and its subsequent takeover by industrialist Norton Simon. Among the issues raised are the power and accountability of museum trustees, the lack of policies in many U.S. art museums, and the role of a museum within the community of art museums. Problems in the financial affairs of the museum started to emerge in the early 1970. Simon's takeover of the museum, his governance of it, and his accountability for its policies were discussed.

An interview with photographer Mel Bochner about an exhibition of paintings by Kazimir Malevich at the Guggenheim Museum is presented. He notes that the characteristics of the paintings themselves interest him about Malevich. He states that Malevich held out for the meaning in art while other artists were making accommodations to the new culture. He cites that American art is lacking the necessary skepticism.

The article focuses on the works of artist Robert Smithson. It cites that his sculpture looked eccentric compared to the prevalent notion of the Minimalist style at his first show in the "Primary Structure" exhibition at the Jewish Museum in New York City. It says that Smithson aimed to propagate his art as a resource that mediates between ecology and industry. It mentions that his role models include author Walt Whitman and abstract expressionist painter Jackson Pollock.

An interview with artist Don Judd is presented. He relates that the person that impressed him most was artist Jackson Pollock. He narrates that in his paintings, he was trying to create the surface non-spatial and flat. He states that paintings are easier to handle, to purchase and put in people's houses.

The article focuses on the evolution of the style of Andy Warhol. His switch from commercial art to painting started as exploratory and was influenced foremost by Abstract Expressionism. Warhol's painting went through principal stages of development which includes selecting an image and reworking, handpainting for the simulation of mass production, and the mass production proper.

The article re-examines the early work of painter Ellsworth Kelly. It looks at Kelly's use of collage and oil paint on canvas or wood, such as in "Red and White," "White and Black," "Seine" and "Colors in Black." The elements which are embodied in his paintings, and the application and use of color are also discussed. A further scrutiny of Kelly's color systemization in his paintings is also provided.

Presents the silver gelatin print "Interlocking Fingers No. 18," by John Coplans.

A response by John Coplans to a letter to the editor about his article on an art exhibition featuring Richard Hamilton at the Guggenheim Museum in New York City is presented.