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"Late Surrealism" Mark Rothko. Jackson Pollock. They're not the usual suspects you'd associate with Surrealism, but they're some of the biggest names in The Menil Collection's current show "Late Surrealism." Though they're known for their groundbreaking abstract work, as the Menil exhibition shows, pigeonholing artists can be tricky business. And during the 1930s and '40s, artists working in America were influenced by surrealists as the art capital shifted from Paris to New York. Curator Michelle White has pulled together 14 artists and 26 pieces from the museum's holdings for the compact show. There are paintings as well as collages, assemblages, works on paper and sculptures created during for the most part the '30s and '40s on display. All together, the works demonstrate what White describes as a "push-pull" between Abstract Expressionism and Surrealism. It's in the mysterious figures in one of Pollock's paintings — not one of his trademark splatter jobs, but one depicting animal-like monsters that are slightly nightmarish. Unnamed, this lack of any clue further adds to its mystery. This push-pull is also evident in Rothko's Red Abstract, a blood-red dreamscape composed of figures that resemble birds and a spade. Other works are strange and slightly goofy. Two Max Ernst sculptures — standing bronze pieces — both feature faces. In one, La plus belle (The Most Beautiful One), the eyes are slightly lopsided above a wide grin. In the other, Asperges de la lune (Lunar Asparagus), the face seems to be splintered — the eyes on one pole, the mouth on the other. Joan Miró's Oeuf (galant ovale) also depicts a face — this one curiously, humorously unhappy — on a ceramic piece made convincingly to look like a rock. There's more to admire — pieces that primarily explore the human body in ink and charcoal that are all experimental in form — in what's an eye-opening, fascinating show on a fascinating period. Through August 25. 1533 Sul Ross, 713-525-9400. — MD

"PRINTTX" By name alone, the Museum of Printing History may seem like the last place you'd find contemporary work in the print field. But among the permanent displays that chronicle the history of printing can be found impressive works that experiment with the form and subject matter. So it is with "PRINTTX," the first juried exhibition of contemporary Texas artists as part of PRINTHOUSTON 2013, a summer-long event celebrating both traditional and contemporary printmaking in the state. Peter S. Briggs, the Helen DeVitt Jones Curator of Art at the Museum of Texas Tech University, has pulled together 23 works of varying sizes and materials by 20 artists. Some of the more engaging pieces aren't what you'd think of when you consider prints. Ann Johnson's Sky's Nest is a sphere of intaglio and found objects suspended from the ceiling by a string. Inside this enclosed nest is, curiously, a faint, ghost-like image of a girl printed on feathers — it's obvious but at the same time unexpected. Orna Feinstein's The Fan is less mysterious. This sculptural wall piece consists of a blue and black monoprint on a plexi and metal part. The circular spots of color repeat the fan's shape over and over in circles themselves, making it all about the whirring motion of this geometric form. Among the more typical prints, Evan Leigh Rottet's photographic lithograph Trash? is a beautifully saturated piece that depicts a pile of garbage in great sepia tones, implying that these discarded items may still have value. Trash? indeed. Other prints have grander, more political implications. Jesus De La Rosa's lithograph Party Is Over is a bright pink piñata with bullets for ears and a look of what seems to be concern in its piñata eye. The small, bold print definitely catches your attention, but then keeps you as it makes a commentary on the "hidden nature of the US/Mexican war on illegal drugs," says the artist. There are plenty of these subtle details, including the button and shirt tag of Joëlle Verstraeten's cool blue monoprints, in a show that offers plenty to admire. Through September 14. 1324 W. Clay, 713-522-4652. —MD

"Unwoven Light" Soo Sunny Park's installation at Rice Gallery is unapologetically pretty. It's a glistening, iridescent canopy of shimmering pinks, purples, blues, greens and yellows that resemble anything from a fish's scales to a spider's web wet with raindrops. Despite the apt comparisons, this creation is anything but organic. "Unwoven Light" is composed entirely of chain-link fence and coated Plexiglas that Park has exhaustingly shaped and welded together to create a network of abstract, bulbous shapes suspended from the ceiling. In fact, it took the artist and her assistants two weeks to make just one distinct unit — specifically, seven hours of welding to brace the fencing, 100 hours of tying the wire that holds each Plexiglas piece in place, and still more time cutting the Plexiglas shapes to fit into the chain-link cells. In all, there are 37 such units — 17 newly created for the installation and 20 recycled from a past work — that create patches of light throughout the gallery from floor to ceiling. However laborious its creation, "Unwoven Light" seems effortless, with light doing most of the work. Every step brings you a new combination of colors that reflect off the Plexiglas and bleed onto the walls and even the floor. There's no set path to follow, either, giving you the freedom to wander underneath and around the units in your own trance. There can be much to consider as you explore the work — about the properties of light and color, imposed boundaries and our perception of space — but it's also a pleasant experience that is, simply, joyful. Through August 30. 6100 Main, 713-348-6169. — MD

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