It will be of interest to all who believe that a revival in art at the present time can only come from a return to realism, to see the steps by which a particular artist has made this return The present exhibition of Péri's work shews his development from 1918 to 1937. From 1920 to 1924, like most sensitive artists, he was absorbed in abstraction, more precisely, in his case, in constructivism. The earlier drawings shew him as an Expressionist. From 1924 to I928 he tried to realise his formal ideas in the most abstract of the visual arts, architecture. Realising that this was not his real medium he tried his hand at sculpture in 1928, and began the march away from pure pattern, spending the years I928 to 1930 in studying problems of movement and 1930 to I933 on static figures. By 1933 these investigations had given him the technical equipment to tackle more complicated realistic problems. From the crucial Street Corner Meeting, executed in 1933, to the present day he has devoted himself to the rendering of the ordinary life of the people in the streets and parks of London. His groups represent everyday scenes of the worker's life in a straightforward but subtle technique, and in the medium of concrete, the use of which, as the most important building material of today, opens up the possibility that sculpture may again be united with architecture. In this way sculpture can again become a communal art, and Péri can be said to have done for it what the Mexican fresco painters have done for painting; that it to say, to have brought it into contact with the serious reality of the day and made it an art for the whole people instead of the entertainment of a small intellectual élite.