WILSHIRE CENTER

Calm and restive aspects of landscape cohabit a tiny gallery in a pairing of Helen Lundeberg’s hard-edge abstractions and June Harwood’s expressionistic constructions. While Lundeberg portrays placid coastal views as rippling flows of shapes that finally flatten into softly radiant horizons, Harwood conjures up stormy seas by jostling space in collaged compositions.

Lundeberg shows 11 pieces, including some jewel-like studies of mysterious interiors and still lifes, but her major works here are three acrylic-on-canvas paintings of wetlands. With characteristic grace and restraint, she reconsiders the theme in both vertical and horizontal compositions and in muted light that ranges from blue and yellow to peach and lavender. This recent work harks back to her earlier nonobjective painting while drawing strength from references to nature. As always, her solitary spaces are not quite of this world, but we’ve seen them in dreams and reveries.

Harwood’s recent work reveals a move from hard-edge nonobjectivity to brushy tumult. A large painting called “Chicago” provides a link by showing that ragged shapes once painted in crisp, uninflected white have become textured segments of turbulent sea, rock and sky. Painted sections have grown into cutouts of wood, but Harwood’s dynamic compositions are little changed and her sure sense of design is intact. (Tobey C. Moss Gallery, 7321 Beverly Blvd., to May 4.)