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The article features painter Bernar Venet and his works. During his early works from 1961 to 1963, he showed his preference for monochrome by painting black surfaces on canvas backgrounds using gravel mixed with tar. His style in painting changed in 1976 after stopping for five years from tar painting to rectangular, circular, and triangular configurations.

The author reflects on the Venice Biennale art exhibition which experienced a downfall in 1974 from its peak in 1964. According to the author, who has been a Biennale visitor since 1960, fewer people regard the exhibition worthwhile and considerable. The author questions if the Biennale could rise again and if the International Exhibitions Committee could do something about this problem.

The article focuses on the American exhibition of European art which was shown by the Art Institute of Chicago in Illinois. Hilton Kramer and Franz Schulze are critics who agreed that "Europe in the Seventies" is insensible, poor and has no originality. It is mentioned that when it comes to comparing American with European art, American art is more on the practical or idealistic type while European art is based on their theories, doctrines and their language.

The article relates that Peter Davies, Roger Hendricks, and Martin Prekop, three instructors at the Art Institute of Chicago School in Illinois, requested a joint exhibition at the Museum of Contemporary Art. Since the Museum is already well committed, they set up their exhibition on the rooftop. It states that Davies planned a shadow system on the Museum roof. Hendricks set up a coop with 35 white pigeons on the roof two weeks before the exhibition. Prekop took photographs and placed 25 of them in the exhibition.

The article reports on September 1974 as an expected month for Christo to complete his art project entitled "Running Fence" in California. It notes that the project was a temporary structure established by engineers under the management of the artist. It likewise states that the project was made possible by Christo and covered Marin and Sonoma counties. Meanwhile, it claims that the concept of the project was related to Christo's perception of Orient Express.

A letter to the editor is presented in response to the review of Patrick Ireland's exhibition at the Charles Cowles Gallery in the December 1990 issue.

The article offers a look at the art works of sculptor Alain Kirili. The art works of Kirili are said to have been done using a dialectic mode of working, wherein one element is pitted against another. His works are neither too small nor too large, but they usually looks small because it sits on the floor. The author notes that Kirili's sculpture show how he transforms the articulation of forms into a significant arrangement. His sculpture also depict the basic urban knowledge of doing things by hand.