The title of the show was hard to digest, and the contents even harder. When the 1961 Pittsburgh International Exhibition of Contemporary Painting and Sculpture opened at the Carnegie Institute last week, it put on display 329 paintings and 116 sculptures by 441 artists from 29 countries. Most of the work was abstract, with each abstractionist striving for some idiom of his own. This striving, which in a one-man show often makes each work seem like every other, has the opposite effect in a group show like the Carnegie's. There the effect is not of monotony but of sense-assaulting variety.
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