A first round of press releases announced the lineup for this show, guest-curated by Kristine McKenna, as a trio to include two late West Coast artists represented by the Michael Kohn Gallery (Wallace Berman and Bruce Conner), a bankable New York artist (Richard Prince), and one common denominator: The oeuvres of all three involve lots of images of women. With Conner now removed from the equation, this marketing strategy/curatorial premise seems stripped. Conner, who had some of the romance and funk of Berman and also the sometimes-odd combination of coolness and indulgence of Prince, could have been the bridge in this exhibition. Without his presence, the show offers less an arc of sensibility than a comparison of two artists’ forays into imagery of women, and becomes a study in how two rather different artists have examined the ways in which culture inscribes itself onto women’s bodies and persons, and how the artists go about such inscription, too. As such, it remains worth catching before it closes on March 7.

As artists’ biographies go, those of Wallace Berman and Richard Prince could hardly be more different. Berman, who died at 50 in 1976, the victim of a drunken driver, was a kind of Beat guru flying just below the radar, showing his work in only one conventional gallery exhibition during his lifetime and popping into rare view in strange places: a cameo in “Easy Rider”; the cover of “Sgt. Pepper’s Lonely Hearts Club Band,” where his face is wedged next to Tony Curtis’s, just below Jung’s.