In Kellys paintings, even the things that arent there . . . are there. So this empty Bandstand teems with a sense of unseen presence. Playwright Enid Bagnold wrote in a letter to Kelly that he painted "with a false and true perspective an indication that all might slip sideways and show what the ghosts and bodies . . . are really like . . . the unheard talk between one age and another . . . " For that reason, critic Herbert Read preferred the term "super-realism" rather than surrealism for Kellys work. In short, there's far more to them than immediately meets the eye.