HIGH CONCEPT

Colin Gardner’s dispraise of some poor landscape painter (The Galleries, Aug. 14) on the grounds that conceptual art had discredited or decertified his very means if not his reason for living, reminds me of a French book review of the late 1920s wherein the critic declared the novel to be totally false because it was inconceivable that a modern young man could become jealous if his girlfriend started seeing other men.

Keep ‘em coming.

Your critics are at least as intelligent as North and Poindexter.

ARON GOLDBERG

Los Angeles