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Focuses on 'The Cremaster Cycle,' an exhibition of installation art by Matthew Barney at the Solomon R. Guggenheim Museum in New York City. Showcasing of themes from past Cremaster exhibitions; Cameo appearances by celebrities such as Norman Mailer and Ursula Andress; Films shown during the exhibition.

The article presents information on drawings displayed at art galleries and museums in the U.S. Presented are drawings including the 1908 "Underpass," by Joseph Stella, the 1913 "Military Symbol," by Marsden Hartley and the 1926 "The Artist's Mother," by Arshile Gorky. It is noted that the art received significant attention from New York Museums in 1973 where drawings by 87 American artists were exhibited. The author notes that since 1946, there has been varying integration between painting, drawing and sculpture.

The article reviews several art exhibitions in New York City, including exhibits by Robert Rauschenberg at the Castelli Gallery and Sonnabend Gallery, by Joe Zucker at the Bykert Gallery and by Bruce Boice at the Sonnabend Gallery.

The article reviews several art exhibitions featuring the works of Christian Boltanski, Mario Merz and Jules Olitski.

The article focuses on the photo-booth art by artist Jared Bark. It notes that Bark uses an awkward technique or unwieldy tool in the creation of his art. It adds that the photo-booth maintains constant lighting, placement, color, size and format which enables Bark to focus on other variables of the art. It discusses several ways in which Bark uses the photo-booth including taking photographs of himself, of strangers, of other images and the booth itself.

A letter to the editor about an art gallery exhibition by Don Judd is presented.

A response by Roberta Smith to a letter to the editor about her article "Drawing Now (and Then)," in the April 1976 issue is presented.

A response by Roberta Smith to a letter to the editor about her review of Jo Baer's exhibition at the Whitney Museum is presented.