...American collectors of the Russian-born artist are a focus of both the current show and an essay by Vivian Endocott Barnett in the accompanying catalogue, "Kandinsky Collectors in America, 1913-1930." Much is made in the exhibition catalogue of Kandinsky's affinity for music ("Color is the keyboard, the eyes are the hammers, the soul is the piano with many strings"), but, though it is alluded to, more might be made of the theosophical underpinnings of Kandinsky's art. Perhaps what Kandinsky's affective language of color (drawn from Leadbetter and Besant) shares with abstract painterly technique and the music of Schönberg-which "leads us into a new realm, where musical experiences are no longer acoustic but purely spiritual"-is the notion of rhythm, which, taken broadly, informs artistic composition across the plastic, performing, and literary arts.