Capsule Art Reviews: "AES+F," "Chantal Akerman: Moving Through Time and Space," "Design Life Now: National Design Triennial 2006," "Foto Fest2008: Current Perspectives, 1998–2008 CHINA," "Tony Berlant," "Vivid Vernacular"

"Tony Berlant" California-based Tony Berlant crafts colorful abstract collages using found tin scraps and fabricated and printed sheet tin. He fixes the pieces of tin to plywood using steel brads. The effect is like a jumbled-up puzzle put together incorrectly, like the pieces were hammered and forced into the wrong places, except Berlant intricately overlaps and massages shapes into his works. It isn't clear where Berlant finds the imagery printed on his fabricated tin, but it looks like cheesy wallpaper design — there are flower motifs, woody scenes with deer antlers, even what look like classic car patterns. Certain pieces employ a central representational image, like the birdlike shape at the center of Nest; others contain a well-scattered coverage of different colors and similar-sized scraps, like Sunny Side. Petrified Forest comes the closest to a recognizable correlation between image and title. Berlant has cleverly composed a realistic rendering of a petrified tree trunk broken in seven pieces. Also surprising is the textural element. The tin actually looks more like synthetic textile, rather than metal. Perhaps the steel brads suggest, in a way, a natural juxtaposition between fabric and metal. It's beautiful work. Through March 29. Texas Gallery, 2012 Peden, 713-524-1593. — TS

"Vivid Vernacular" The photos on display here are by three indisputable masters — Walker Evans, William Christenberry and William Eggleston. Evans, whose groundbreaking 1941 book Let Us Now Praise Famous Men (with text by James Agee) documented Alabama sharecroppers during the Great Depression, commences this rather academic exercise. His 1970 "Billboard" is a snapshot of an exterior wall, presumably in London, plastered in show flyers. Christenberry came late to photography as an artistic medium; he was primarily a painter. His stark photos of buildings are austere and unobtrusive, almost reverent. There's a certain sense of worship in photos like Church, Sprott, Alabama (1971), a simple, distanced shot of a rural church. Eggleston is the star here. For one, his are the largest prints — still too small, though, in my opinion. And there's a sense of narrative, too, mostly dictated by where he places the camera. Evans and Christenberry shoot mainly from street level; Eggleston's perspective shifts from floor-level to floating above rooftops. Untitled (Peaches), a 1972 photo, finds Eggleston's lens drifting above a corrugated tin roof, in dead-eye focus with a rooftop sign that simply announces, "PEACHES!" And apparently nothing goes better with peaches than Coca-Cola, judging by the advertisement crowning this roadside fruit stand. Through April 20. The Menil Collection, 1515 Sul Ross. 713-525-9400. — TS