Tom Nakashima, a faculty member at Catholic University, has put together a small but interesting exhibition of work by artists he knows well. There are no esthetic breakthroughs here, but there is some extremely solid work.
Sculptor Mary Frank works with welded metal. Her "Holy House," one of a new series of enclosed dwellings, conveys a strong sense of mysterious, contained spirituality.
William Raspberry's large canvases seem to begin with a well-defined formal organization that inevitably succumbs to the consuming sensuality of gestural paint -- a wonderful way to go.
Al Carter continues to make every work a surprise. In the best one here, "Oh Boy a Toy," he fills the top half of the canvas with a jumble of kid-culture images and the lower half with a sweep of shiny pink enamel paint, promoting a kind of Saturday morning esthetic.
Peter Charles shows his highly refined, reductive sculpture, the two examples here dealing with the act of "Fastening." And Tom Gibbs, also a sculptor, exhibits a fine cast piece in the European abstract tradition that might be a maquette for some powerful public work.
Finally, Nakashima includes one of his own works, from the series "Standing on Ground Zero." Dealing metaphorically with nuclear politics by referring to "opening and closing," "measuring," "containing" and "bad planning," this construction is ominous, but far too subtle to be read without an explanation.
The exhibition, at the Catholic University department of art, ends March 15.