I stood in a museum gallery the other day, listening to visitors as they passed by a big, lusciously painted canvas by Ted Waddell. The remarks that I remember were given in short, spirited vocalizations, and the vocabulary varied as they described their reactions to the work before them. One called it, without the slightest hint of equivocation, "messy;' while another, in a more reflective tone, used the word "en-chanting" And yet a third was heard to say, with something of a relieved expression, "Hey, yes, it is...it's a horse." Then they moved on to the next artwork on the wall, and I noticed, as they passed me, that they did so with a smile. They had been engaged. They had responded to the artist's method, to his mood, and to his subject--the last of which is at first blush sometimes rather less evident than the other two.