Paper's physical impermanence matches its traditional ephemeral function. Before the art star was born, drawings, like those in Leonardo's amazing sketchbooks, were private visualizations or plans for more permanent public works. But since the 20th century's emphasis on the artist's personal process, works on paper have become more than fleeting endeavor. There are several standouts in this show.

Brigitte Keller's work is of the id-glorifying end of this ilk, the larger format of "Memories of Childhood" a fitting arena for the guileless, unbridled emotion all-hanging-out within. Conversely, Shiao-Ping Wang's fascinating, semi-three-dimensional "Waves" has the rational look of a scientific graph plotting phenomena and the precious feel of rare insects under glass. Abstract musing about the character or memory of sound, light, or water waves is manifest in a tentative visual language and delicate materials-colored pencils and pins, clear and dotted lines, transparent vellum-that in places reveal an inner layer of possibility. While Leonardo's meteorological visions of deluges, etc. marvel at what they try to understand, "Waves" takes ethereal pleasure in the inscrutable as an end in itself.

Wang's colorful "Shopping Mall" illustrates that which inspires one to shop until dropping. The market place (as in the Greek "agora"), the source of the business/social interaction that created community (and agoraphobia), has become the postmodern mall, a contrived street whose new-fangled serpentine design loses the consumer in eye candy. Wang's grid structure organizes this multifarious experience.

The reasonable grid features prominently in Craig Hood's rich drawings, rendered in soft geometry and texture, subtle tonality and humor, and reminiscent of Picasso's "Harlequins." Standing idly in backyards, Hood's suburban wanabees are all dressed-up with nowhere to want to go. They may, as in "Man Coming...or Going," wonder about worry the way a Beckett character might, but without the latter's vacant distress or disorientation; the grid puts even uncertainty in its place. The resulting comfortable metaphysical daze is made possible by the amenities of the American Dream-"Land of Polka Dots and Stripes" expresses a careful joy. Amy Brngr's "Backyard Bounty," another view of the same location, is lively in its contours, movement and intuitive associations of shape to form.

Allan McColloch's wallpieces (and screen and table) are handsome and accomplished, although transitions to inlaid sections could be either more seamless or more artfully abrupt, and design as thoroughly considered as color choice. Despite its excellent rendering, Arthur Balderacchi's "Arizona Mesa" leaves emotional intention unexplored. Frank Moulton's geometric landscapes are pleasing in their muted color harmony, and clear execution and design, though this capable work might utilize more doubt for more surprise. Bill Mitchell's vivid "Island Discovered" is skillfully poised between abstract pattern and illusionism, feeling and ability. Scott Schnepf's tiny, charming "Bottle" potently suggests, like a genie inside, suppressed romanticism.

The "Works on Paper" show at the Coolidge Center for the Arts at the Wentworth-Coolidge Museum, 375 Little Harbor Road, Portsmouth, runs through Sept. 12. Hours are Wednesday through Saturday, 10 a.m. to 4 p.m. and Sunday 1-5 p.m. Call 603-436-6607 for more information.