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"New Formations: Czech Avant-Garde Art and Modern Glass from the Roy and Mary Cullen Collection" Avant-garde Czech erotica, anyone? "New Formations," an assemblage of early 20th-century Czech work collected by Mary and Roy Cullen, presents some pretty wonderful things: everything from glassware to periodicals to the aforementioned erotica. And like most shows of private collections, you should visit it for the objects and glimpses of the period it contains rather than to receive a comprehensive overview. Jindrich Štyrský's 1933 text and photomontage, Emile Comes to Me in a Dream, was only distributed through the mail. One of his collages, on view in the show, illustrates why. A photo of a half-naked woman clutching a feathered fan is paired with a photo of a skeleton with its boot still on. Štyrský stuck an image of an erect penis over its pelvis. It captures the decadence bookended by the carnage of WWI and WWII. Tamer but equally impressive offerings in the show include amazing art glass from the '20s and '30s, in which Bohemian glassblowers turned their considerable skills to dramatic modern forms. Through February 5, 2012. The Museum of Fine Arts Houston, 5601 Main, 713-639-7300. — KK

"Oil Sketches by Kim Dingle" There used to be a lot of "house galleries" in Houston, Montrose bungalows turned into exhibition spaces. But the real estate boom and townhome craze of the late '90s and early 2000s took care of most of them. Hopefully, artist Sharon Engelstein is leading a revival. Engelstein and her husband, painter Aaron Parazette, have turned the front parlor of their 1920 bungalow into a great gallery space. The Front Gallery's inaugural show features L.A. artist Kim Dingle's oil sketches — brushy, gestural images of chubby-legged little girls in puffy-sleeved white dresses, white socks and black Mary Janes. Neither saccharine vintage children's illustrations nor creepy Henry Darger characters, Dingle's girls are decidedly self-possessed. Pouting, clowning or angry, they wear frilly clothes symbolic of the stereotypical "girlishness" they choose to ignore. Through November 26. Front Gallery, 1412 Bonnie Brae, 713-298-4750. — KK

"Working in the Abstract: Rethinking the Literal" This show acts as a kind of teaching tool, so it's appropriate that it's on display at the Glassell School of Art. It's a primer on different styles of abstract painting, and it features some local heavy hitters of abstraction. The styles range from the liquid and organic compositions of Michael Kennaugh and Terrell James to the structured and geometrically inspired works of Pat Colville and Susie Rosmarin. The show's good for cleansing your mood palate; it's a way to exorcise those analytical demons and distill your surroundings down to color, shape and pattern. Rosmarin's meditative grids are consistently sweet eye candy, illuminated and flickering in an op-art-ish way. And Brooke Masterson Stroud's mysterious black paintings mix hard lines with hazy, unknowable open space. The exhibit succeeds in displaying the potential for emotion in abstraction. Through November 28. The Glassell School of Art, 5101 Montrose, 713-639-7300. — TS

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