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"Neurotic" Over a film career spanning 40 years, John Waters has managed to simultaneously offend and entertain his audience. His art, it turns out, is no different. This show at McClain Gallery includes conceptual works by the Pink Flamingos director made between 1993 and 2009 that comment on film, writing, sex, humor, and, yes, neuroses — it's a glimpse inside Waters's twisted, transgressive bald head. The bulk of the show is comprised of these visual storyboards — movie stills Waters took with a camera and grouped by a highly specific, highly dark theme. There are images of plane crashes, people puking, drug use — he tries to make you cringe, then laugh, then question both reactions. In other, less shocking montages, Waters had some fun with Photoshop. In Product Placement, he adds some unfamiliar items to famous movie moments (in one humorous scene, Charlton Heston's Moses clutches The Ten Commandments in one hand, a bottle of Tilex in the other). Though all made within the past 15 years, these series have this throwback 1980s New York art school vibe that Waters seems to embody. On the non-photography side, Waters fills the gallery with quirky surprises that are also highly personal works. There's his larger-than-life replica of a La Mer jar — a long-time favorite of the artist's — minus the actual lotion (if he did fill it with the pricey stuff, the jar would have a price tag upwards of $200,000). For some inside art world humor, there's Visit Marfa, a satirical advertisement for the minimalist art capital of Texas. The poster highlights such attractions as "Eat food all the same color," "Pretend to see the 'Marfa Lights,'" "It's a l-o-o-o-o-n-g drive!" You get the idea. It's one of the few insidery pieces in an otherwise highly accessible show. Through April 28. 2242 Richmond, 713-520-9988. — MD

"Pictures and Words" Geoff Winningham doesn't so much tell stories with photographs as he spots other people's stories and photographs them. They're fleeting images — thought-provoking relics of people who have long left the scene of the crime, or are unknowingly part of it. These often anonymous, mysterious stories comprise this retrospective of sorts at Koelsch Gallery. Most photos are pulled from different series Winningham has shot over the past 40 years, chosen because they're either a picture of a picture, or a picture of words. It's a simplistic conceit that reaps big rewards. For "Photos," there's the collage of news clippings, magazines covers and photos on an abandoned barn in Leadville, Colorado. Winningham broke in to take the shots in 1994, and, after some detective work, found they dated as far back as 1943. Time gave these clippings an aged, frozen-in-time look — sepia in action, no Instagram necessary. For "Words," there's a series of handmade signs that Winningham found on the coast of the Gulf of Mexico. There's one advertising carne asada, another "dirt-sand," a third for gasolina, but with the word humorously broken up into "gasol" and "ina" to fit onto the wood. The jackpot, though, is a long, unexpectedly poetic tirade by one Joseph C. Dunn against the harassment he's apparently faced at the hands of the FBI. Read it in full. Winningham reprinted the majority of these works for the purpose of this show, and the materials used are as diverse as his subjects. There's an incredible piece from the Leadville series comprised of carbon pigment on brushed aluminum, as well as photogravures, archival inkjet prints, vintage gelatin silver prints and German Etching paper, to name a few. Winningham has really experimented, and the show is enjoyably engaging as a result. Through April 21. 703 Yale St., 713-626-0175. — MD

"Round 36" This group of shows at Project Row Houses brings Kenyatta A.C. Hinkle's Kentifrican Museum of Culture, in which four rooms are dedicated to the ethnomusicology, hairstylings and cultural myths of "Kentrifica," followed by John Pluecker's pop-up bookstore, reading room and experimentation lab. There's Manuel Acevedo's homage to the father of optics, Ibn Al-Hazen, which experiments with optics and elements of photography, and Monie Henderson and Marc Newsome's "Cultural Portal," which explores representations of African Americans in contemporary pop culture through movie posters, photographs and audience prompts. There's Philip Pyle II's commentary on African-American consumer spending, Irvin Tepper's large-scale photographs of the sleeping homeless, and Beth Secor's blue, airplane model-flying homage to her deceased father. Secor's show is one of the most successful in "Round 36," completely transforming the space into something new. She used the walls of the house as her canvas, drawing blueprints of model airplanes and flowers on nearly every open surface. She also hung model airplanes from the ceiling and painted the floorboards blue. It's full of emotion and sentiment even before you know the prints and airplanes belonged to the artist's father (must be all that blue). There's an obsessive quality to it all, with the strange language of the model airplane blueprints surrounding you, but there's also very pretty and clever imagery. I loved the visual of half a plane attached to a wall, circles surrounding it where it makes impact as if it's going through the surface — it's telling you that your rules don't work here, that this place is different and special. Through June 24. 2521 Holman St., 713-526-7662. — MD

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