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The article provides information on the importance of software or the conceptual aspects of modern technology on the flow of an art exhibition. According to the author, software differs from conceptual art shows since it de-emphasis the display of the artists' ideas in the form of documents. Software can comprise a wide range of systems such as dealing with information-processing systems to interact with the visitors to provide information about the exhibited artworks.

Reviews are presented of New York City art exhibitions, focusing on 1965 exhibitions such as an exhibition of the artist Reginald Marsh at the Gallery of Modern Art, an exhibition of Israeli art at the Jewish Museum, and an exhibition of shaped canvas art at the Guggenheim Museum.

The article reports on the one week artists' strike against war, racism, and repressions that closed down popular art museums such as Whitney Museum, Jewish Museum, and Guggenheim Museum in the U.S.

Features 'Jewish Experience in the Art of the 20th Century' exhibition at the Jewish Museum. Theme of the exhibition; Artists featured; Visual presentation; Example of the kind of catalog that the Museum of Modern Art used to do.

Focuses on the architectural style of Israeli architect Moshe Safdie. Assessment of mass dwellings designed by Safdie in the U.S. and Canada; Information on an exhibition of designs by Safdie at the Jewish Museum in New York City; Appraisal of novelty of architectural ideas of Safdie; Reasons behind the popularity of Safdie.

As part of the argument for its expansion the Metropolitan Museum of Art released a Fact Sheet last year which included these statistics: 90 per cent of the American painting and sculpture and 55 per cent of the European paintings that it owns are not on public view. Recently the Jewish Museum has announced plans to concentrate on the display of its permanent collection, but this is a special case. It is a good moment to consider the allocation of available funds between temporary exhibitions and permanent collections. The basic reason for the invisibility of the permanent collections is the stress on temporary exhibitions.

The Frank Stella retrospective at the Museum of Modern Art is a well lit and well presented array of what the Jewish Museum recently called "beautiful painting," but, to be candid, painters nominated for this quality are wiped out by painter Frank Stella. It is a pleasure to see his works for ten years, they are so nicely painted, steady in their large emphasis, properly blunt in details. There is persistent agreement of the paint and the problem, of handling and format, in comparison with which a great deal of abstract painting is gross and approximate. The development of his work is stable, each new move a logical extension of work done, but not a repetition of previous images.

Reviews the art exhibition "Young Italians," featuring works by several Italian artists at the Jewish Museum in New York.

This article discusses about one of the most famous younger-generation American painter Jasper Johns. Johns, probably has the dubious distinction of being the more problematical, and the more censured. This quiet artist, whose favorite color is gray, and whose characteristic tone is self-effacing, has unwillingly managed to antagonize the greater part of his audience. This month for the first time, one can view the production of Johns in an extraordinarily detailed and comprehensive retrospective at the Jewish Museum.

Plastics used as plastics, rather than in disguise as other materials, are fine for jewelry, utensils, clothes and furniture, but for art there are difficulties. It is no longer a question of whether in principle the new synthetic materials are compatible with fine art; after forty years or so of use there can be no doubt about that. Nonetheless the exhibition at the Jewish Museum, called "The Plastic Presence," is a flop and the reasons are worth attention. First artists Tracy Atkinson and John Lloyd Taylor of the Milwaukee Art Center arranged the credits, the show. After New York, the exhibition will go there and then on to the San Francisco, California Museum of Art. Philip Morris Inc. and a couple of affiliates sponsor the show.

The article discusses the artworks of California researcher and artists Robert Irwin, which are composed of light on light. It mentions the effect of photographs from Irwin's work at Manhattan's Jewish Museum, called retinal bleaching due to the reflection of light going the retina. However, several people in Brazil felt discomfort upon seeing the photographs presented at the 1965 Sao Paulo Bienal including Emily Tremaine.

The article reviews the art exhibition at the Jewish Museum in Manhattan, New York in July 1967.

The article reviews the exhibition "Primary Structures" at the Jewish Museum in New York City on April 26, 1966.

The article reviews the exhibition "Primary Structures" at the Jewish Museum in New York City from April 29-June 12, 1966.

The article reviews the art exhibition by Max Ernst at the Jewish Museum in New York City.

The article presents a calendar of events in the New York City area in 1966. A benefit loan exhibition of paintings and pastels by Mary Cassatt is ongoing at the Knoedler gallery. The paintings and drawings of abstract expressionist Philip Guston is on display at the Jewish Museum. The opera "Don Giovanni," starring Teresa Stich-Randall and Elisabeth Schwarzkopf will be presented at the Metropolitan Opera.

The article profiles Robert Rauschenberg, an influential painter of abstract expressionism in New York. This provides information on the uniqueness of his work of art, highlighting various exhibits he had undertaken including a retrospective display at the Jewish Museum. In addition, details on his early life and career development which gives emphasis on the distinct characteristic of his painting are further taken into consideration.

Reviews the exhibition "Large Scale American Paintings," at the Jewish Museum in New York City in 1967.

The article presents information on art. No better exhibition of current art's taste for riddles, its limitless powers of hybridization, or its antiseptic energy can be imagined than that now at the Jewish Museum, entitled, with befitting neutrality, "Primary Structures." But perhaps these are not the words to describe a phenomenon whose every implication is synaesthetic. That is, it seeks to transfer sensory perceptions characteristic of one medium, worked out in a language of metaphorical equivalence, into those of another. In this case, the three media are architecture, painting and sculpture.

This article presents information on Mordecai Ardon Bronstein, a fifty eight year old Palestinian painter. It is informed that the works of Mordecai Ardon Bronstein is put up for exhibition in the Jewish museum. As is the case with most contemporary Jewish painters, Bronstein's chief direction is expressionist, and in his smaller and lesser canvases there are many reminders of Soutine. However, his best work--especially the apocalyptic and monumental landscapes "Mount of Olives," which is the finest picture displayed in the museum, "Kidron Valley," "Bethlehem," and the smaller "Anatot"-- displays an expressionism modified by cubism. These paintings are brought to the verge of the abstract by their texture, which consists of a multiplicity of cross-hatched little brushstrokes that create a surface in which shapes dissolve, and underneath whose seeming monotony rhythmic variations of hue and value work powerfully.

An interview with Jack Burnham, organizer of the "Software" exhibition held at the Jewish Museum in New York City is presented. When asked to discuss something about his book "The Structure of Art," he stresses that the book provides a structural analysis of art. Burnham asserts that the book addresses the arguments between literalists and formalists on their approaches to art. He points out that "Software" will be his first and last exhibition.

The article reviews the sculpture exhibition "Primary Structures," at the Jewish Museum in New York City.