"Halls without walls, room to feel in. The door awaits you, your return within." Abhidnya Ghuge works with the most common and disposable of materials — paper plates. Their abundance comes in handy, though. In her site-specific installations, the artist employs them by the thousands to create unusual forms that snake organically across the room. Her latest installation, poetically yet incomprehensibly titled "Halls without walls, room to feel in. The door awaits you, your return within." takes over the Grace R. Cavnar Gallery at Lawndale Art Center. The somewhat awkwardly shaped room responds well to a work that compels its way through the space, changing how you walk through and forcing you to interact with it. This isn't a flat, unresponsive surface but a dynamic, fleshed-out work with depth; you can see it from all sides and have it completely surround you. With the paper plates folded up into cones and held in place by a wire frame, the flowing form looks like a coral reef out of water. An original wood-block carving is printed on these thousands of paper plates in bright orange, yellow, blue and white colors, further adding to this scaly, reef effect. Upon closer inspection, the wood block design is less coral-inspired and more henna — a nod to the Tyler, Texas-based artist's Indian origins. It's a highly unusual piece, one that's completely unexpected and oddly pretty. It's best viewed as a whole; up close, it's simply paper plates with prints on them, which isn't so magical. But step back and take it all in, and it becomes something else entirely. Through June 15. 4912 Main, 713-528-5858. — MD
"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