Burt Hasen was born in New York City and trained in Paris. When he returned to New York, Hasen was an active member of the 10th Street scene, which played a significant part in the growth of American art and the diversification of styles that are evident in the art world today. Hasen, a founding member of the March Gallery, like many of his contemporaries, is still under-known.

A long-time professor at the School of Visual Arts in New York, his work is also included in many major collections, including the Smithsonian, the Library of Congress, the National Academy of Design, and the British Museum.

Throughout his career, Burt Hasen, a fantastical surrealist extraordinaire, was primarily concerned with understanding the convergence of the internal and external space that occurs haphazardly in the human psyche. His works are packed with symbols, referential allusions, and invented hieroglyphs. Despite the specificity of their visual and textual signifiers, the resulting imagery lacks any literal identity.

The portraits of women are a precursor to the works of artists like Cindy Sherman and Lisa Yuskavage. His imagery alludes both to art history and the present. His women are distinctly fierce. Hasen paints his women in strange indoor settings or dreamy outdoor environments. These works are surreal deviations on the archaic genre of the Lady-in-Waiting portraits. These paintings are about the sitters' states of mind and psyche. Hasen uses this European motif with regard to the pictoral composition, but his women are not passive objects of beauty.

Burt Hasen's work teeters between magical realism and surrealism. Thematically there is a fantastical element throughout his work. This is more mysterious and alluring than dark and menacing.

His etchings are populated by figures in varying states of metamorphosis; transitioning from human to animal, singularities to pluralities, background to foreground, and inanimate to animate.

Seymour Boardman started with a basic structure and as the work evolved, he went through the process of simplification, eliminating unnecessary elements while maintaining the essence of the image. He often painted the edge of the canvas. His paintings are subjects for contemplation.

Lawrence Calcagno's style ranges from meditative linear abstract landscapes to free-form Abstract Expressionism. His colors resonate the ambiance of his Northern Californian roots.

Herman Cherry painted deceptively simple abstractions. He was a fine colorist and a poet.

Michael Loew's work was primarilly inspired by landscape. His approach was more painterly and expressive. His application of color remained loose, capturing the harmonious, luminous effects of light and space.

Richards Ruben's "Venetian Fragments" breaks the dictates of the flat two-dimentional work and reminds us that he is mainly a gestural artist who shapes and curves his canvases. This reflects his interest in having the inner rhythms of the image correspond with the outer image of the canvas as well as the interaction with the wall.

Irving Petlin introduced a new language of abstract landscapes. White flares of dragged brush strokes lift and lighten the atmosphere and invite to share a magical momentum.

John Hultberg's dramatic landscapes develop with a prophetic and apocalyptic atmosphere, environmental damage, pieces of debris and dirt - all of which screams through the piles of organized brushstrokes. He was known as the painter of the in-between. He was a close friend of Burt Hasen.