Chagall, the surrealist, offers no signs of architectural or sculptural space in his color lithographs. His lithographs appear soft on the surface; instead of using a single line to delineate a contour, he uses several smaller strokes. His method of transformation of nature uses the surrealist and soft impression as its primary tool.

Henry Moore transforms nature onto paper in a unique way: he transfers the strength of sculptural space onto his sketches. He uses charcoal instead of the chisel to craft his malleable and almost tangible forms. One can almost feel the soft, waxy body of the forms that he sketches. Although the forms he sketches is abstract, the image appears very real.

Just when one has absorbed his wonderful ability to create a live image with "Notebook 2, Drawing 25," one encounters another sketch of his which contradicts everything that he accomplished in the prior sketch. His forms are angular and two-dimensional in "Notebook 3, Drawing 10." Moore's versatility is evident, and thus, rather than define his style, it is more sensible to simply acknowledge his multiple artistic skills.

The most striking aspect of the Pucker Safrai Exhibit is a painting by Picasso. "Femme au Fauteuil," painted in 1948, reflects the shell-shocking influence of the Second World War. It depicts a woman in two-dimensional, almost paralyzed, form. Her stare is blank, and she appears so confused that it appears vapid.

Picasso's pre-cubist phase where he concentrated on destroying a priori space is evident here, as it was in the Matisses. A Priori space is the conventional three-dimensional, perspectively accurate depiction of depth that originated with Giotto and Pierro Della Francesca in the Renaissance.

Modern art has taken upon itself the task of destroying that space, a process which began with Cezanne, the father of modern art. The lines between the subject, in this case the woman, and the background reveal no sense of depth or perspective.

The Matisse "Odalisque" uses the floral designs on Odalisque's jewelry and scarf and the designs on the wallpaper behind her to blend the foreground with the background. Picasso, in his "Femme au Fauteuil" also blurs these lines and presents a surface-tense, vibrant and mesmerizing painting that alone is worth the trip to Newbury Street.