UFOs proves that computer animation — once a rickety and gimmicky device — is now progressing to the state of an art," Amos Vogel, author of the influential Film as a Subversive Art, wrote in the March 9, 1972, issue of the Voice. Vogel was right: UFOs, the three-minute short to which he was referring, was a groundbreaking slice of computer-generated art. A swirling, propulsive mosaic of color, line, and shape, the movie was just one of many such technologically prescient works formed by Lillian Schwartz during her thirty-plus years working at Bell Laboratories. Diagnosed in 1955 with an eye disease called chorioretinitis, Schwartz worked to obliterate the conventional boundaries dividing 2-D and 3-D animation. Given the reach of Schwartz's accomplishments and the presence of her ideas in university classrooms, it's shocking to learn that "Pioneer of Computer Art" marks her first New York solo show. Don't sleep on it — Schwartz is an artist who, in her own way, helped spearhead the idea of the computer as a creative instrument.