"The White Album" There's nothing Beatlesque about this show, but as the title suggests, the color white plays a large part. The ten works on display are drained of color, emphasizing negative space and textural elements. Jill Moser's oil-on-canvas In the White City utilizes an interesting brush-stroke technique that renders closely grouped lines in a pleasing abstract pattern. Mark Williams's Homage to White is a tall canvas with whitewashed rectangular fields of gray and blue that feels more like an homage to any number of post-war abstract artists. Most interesting are Joseph Cohen's Proposition 5 and 6, two rectangular works on birch wood, covered with a thick layer of latex, enamel and epoxy. The gently textured white surface imitates weathered stone. The slightly bent edges are covered in a rainbow of paint drippings dappled with drips of white, and an oozy yellow residue coats the outer sides. Most puzzling is Joseph Marioni's White Painting, which is actually yellow. The largest and most expensive piece on display, it's also the one most likely to polarize viewers, since it contains no visible skill level other than the ability to use a paint roller, and badly at that. It's the type of work that embodies the most farcical elements of contemporary art. The ones people point to when satirizing the art world. Through June 30. Wade Wilson Art, 4411 Montrose, 713-521-2977. — TS

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