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"Glass Graphica" The two artists whose works appear side by side in this exhibition, Moshe Bursuker and Miguel Unson, have long been acquaintances. Bursuker taught at UrbanGlass, a community space in Brooklyn, New York, when Unson was a student. The two found that their love of glass was a common bond despite their varied approaches to technique. Bursuker's method combines photography and glass collaged together to create an abstract world, encased in ice. In some of his pieces, nonfigurative forms, almost appearing like globs of glass, hide another world. Inside the shapes, the reflections of buildings and windows can be perceived, although they may not be noticed upon first glance; it is a secret the artist has extended to us. Other works by Bursuker are more colorful yet contain the same twist on reality. Solid plates of melded glass are filled with colorful fractured patterns that at first appear random but come together to make a scenic picture. If the Impressionists had worked in glass, these pieces would fit nicely into their catalog. Meanwhile, Unson's pieces are primarily disc-shaped objects, black with colorful light seeping through. In his piece She Won't Look at You (Won't Look at You), Unson has found a way to weave using glass. The result is beautiful. White strands, almost vein-like, swim through black matter, making intricate patterns and shapes. The two artists complement each other nicely. Their work is wildly different yet holds the same basic foundation, and their passion for the material is ever apparent. Through October 14. Houston Center for Contemporary Craft, 4848 Main, 713-529-4848. — AK

"Vivian Maier: Out of the Shadows" Vivian Maier's is a fascinating story. The "nanny photographer" took hundreds of thousands of photographs from the 1950s to the 1970s, many of them going undeveloped until discovered in an Indiana storage auction in 2007. There are currently 30 of her photos on display at Catherine Couturier Gallery (formerly John Cleary Gallery) from Chicago art collector Jeffrey Goldstein's collection. The strictly black-and-white photographs have been printed based on the standards and aesthetics of Maier's time, making for beautifully high-contrast photos with rich shadows. The show features a group of self-portraits; another of small prints Maier, who passed away in 2009 at the age of 83, saw published in her lifetime; and finally, what can only be described as everything else — photos that document the everyday, capturing intimate, suspenseful, funny or quiet moments — whatever caught Maier's masterful eye. There are young lovers kissing on a Coney Island beach, an elderly couple bracing themselves against a strong wind, a military line next to bystanders during the 1968 Democratic National Convention. Though often unceremoniously labeled as an "amateur," Maier was a street photographer and documentarian of the best sort. She captured unstaged moments, disappearing into the scenery so her subjects could act naturally. Why Maier let her life's work sit collecting dust in a storage unit, we may never know. And while this story raises questions about the ethics of printing someone else's work without her consent — and profiting off of it — I can't help but feel relieved that these images, these humanist historical records, haven't been lost to the shadows. Through October 13. 2635 Colquitt, 713-524-5070. — MD

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