"Contemporary Erotic Drawing" At this show, T&A abound and jiggle around. Straight, gay, group, solo -- pick your poison, and you can find an artist with it on tap. And that's just the conservative stuff. A lot of the works are meant to shock, and if a few of them don't make you a little uncomfortable -- like Kim McCarty's two watercolors of shirtless figures, who seem more than a little young to be viewed from the eye of Eros -- then you might want to consider counseling. But the show isn't all shock and awe. There's a lot of funny stuff in here, too. In Cristina Lucas's computer animation, Flying Boys, the characters do just what the title suggests: They fly about, albeit by means of a quite unconventional method of propulsion. They're fully clothed, you see, except for their penises, which whirl around like helicopter blades. This show is also the perfect venue for the work of local artist Scott Burns, who seems to have turned over his whole oeuvre to kinkiness. Here he has four pieces, all of which exhibit a lovely cleanliness of line, and all of which depict a devilish feminine figure tempting a fat Buddha. And, of course, no erotic art show would be complete without the work of R. Crumb. Crumb really is the grandfather of the contemporary scene. Three of his works are on display here, one of which shows a guy staring at his engorged penis. At the top is a caption that might be the best way to describe the entire show: "unfucking real." Check it out. Though March 5 at DiverseWorks, 1117 East Freeway, 713-223-8346.
"Eve Sussman: 89 Seconds at Alczar" Eve Sussman's work 89 Seconds at Alczar was considered one of the standouts of the 2004 Whitney Biennial. On view at Rice Gallery, the ten-minute high-definition video is constructed around Velzquez's famed 1656 painting Las Meninas. Sussman is imagining the moments before and after the famous painting, as if the scene were captured in a 17th-century snapshot. The players move around in the space before and after, briefly reconstructing the painting's scene. Sussman is trying to capture a portentous sense of royal intrigue in these moments, and she goes a little over the top. Several of the actor's mannerisms and dramatic pauses are too heavy-handed, but even so, the work is riveting. The set was built in a Brooklyn garage, but Sussman has managed to create a wonderful sense of place. The lighting is marvelous, as "daylight" streams into the darkened chamber to mix with "firelight." The camera moves slowly but agilely around the room, and the actors hone in on odd details, like the fabric of a sleeve. The video's sound is haunting as the crackling of the fire blends with a human heartbeat and almost audible whispers. Through February 27. 6100 Main, 713-348-6069.