Though this 23-artist exhibition of mostly contemporary abstractionists lacks bite as a whole, every individual painter in it is worthy of attention.

This exhibition of two sculptures and assorted works on paper lacks the astonishment factor of his most ambitious efforts, but it still rewards contemplation.

Packed with pretty images and elegant models, this exhibition lacks the scholarly depth you might have hoped for on such a mesmerizing subject.

The exhibition conspicuously lacks work by Johns as well as by Barnett Newman, both of whom made important print series.

Featuring a series of recent paintings, this exhibition lacks the scope, uniqueness and sense of necessity that make the Ryman exhibition such an important contribution.

(Unfortunately, this exhibition lacks one of his greatest winter scenes, "White Veil" (1909), a view through falling snow that is much more Impressionistic.)

Also, the exhibition lacks a coherent curatorial rationale.

Not that the exhibition here lacks ethnic character; on the contrary, it abounds in color juxtapositions that, to this observer, seem quintessentially black.

And both suffer for it: Despite their size, these exhibitions lack the depth and curatorial rigor expected from the institutions that sponsored them.

Yet there is something unifying the selection that a less historically determined exhibition would lack: the spirit of Modernism.