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"Perspectives 177: McArthur Binion" McArthur Binion's show at the Contemporary Arts Museum, Houston features a repetition of geometric shapes — triangles, squares and circles — varying only by color. To make them, he presses wax crayon onto wood and aluminum panels in a very laborious process that results in what the Chicago artist likes to call "Rural Modernism," both a nod to the pieces' heavy texture and his Mississippi upbringing. The result of all this repetition, however, is that once you see one piece, you've seen them all. Whether it's a red triangle, green triangle or purple triangle, there's not much to propel you forward. To be fair, each piece is subtly different, though that's largely indiscernible to the naked eye. That's because barely visible under each layer of crayon are autobiographical elements — pictures of Binion, his birth house, and parents, as well as lynched men and even racist and stereotypical imagery taken from fruit wrappings. The artist cleverly calls this the "under-consciousness" of the work, though like anything that's under the surface, you have to be told it's there, or otherwise miss it completely. One piece that did stand out in the artist's museum debut was Stellucca I: (Rural Geometry) — a parallelogram, the only one of its kind in the show, whose title is a combination of Binion's children's names, Stella and Lucca. With just a few simple lines, Binion manages to create a great tension that really grabs you. Through April 1. 5216 Montrose Blvd., 713-284-8250. — MD

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