Pan Recommends for the week of September 12 to September 18

Robert Boyd

After last week's artapalooza, this week is more sedate. The big event is the Karen Finley reading next Wednesday, plus there are some opportunities Saturday to see work that in some ways describes the art history of Houston--the painters who dominated in the 60s and 70s and the conceptualists/performance artists who followed in the 80s/90s.

THURSDAY

Marlon Puac Méndez at Koelsch Gallery, 6–9 pm. I'm sorry to say that I know nothing about this artist except that he may be an illustrator from Guatamala.


Robert Hodge, We Didn't Start the Fire, 2013 mixed media collage on found paper 58 x 82 inches

Robert Hodge: A Memory Worth Fighting For... at Peveto , 6–8 pm. Multimedia artist Robert Hodge presents a group of paintings and collages.


Francesca Fuchs, Framed Painting: Bottles, 2013, Acrylic on canvas over board, 20 x 25"

Francesca Fuchs: (Re)Collection: Paintings of Framed Paintings, Drawings, Prints and Photos at Texas Gallery, 6–8 pm. A big selection of Francesca Fuch's pale, milky paintings, some of which appear to be paintings of other framed images.

 
Kelley Devine's jackrabbit

West End Animals by Kelley Devine at the West End Pub, 6:00pm until 9:00pm. Kelley Devine continues her practice of drawing on book pages, but her subject matter this time around are animals. What I've seen look pretty interesting.


Wols, Untitled [Also known as It's All Over and The City], 1946-1947

Panel Discussion: "Wols: His Life, Work & Context" at the Menil Museum, 6 pm. The Wols exhibit officially opens tomorrow, but presumably one can get a glimpse of it tonight in this panel discussion featuring Frankfurt scholar Dr. Ewald Rathke, Menil curator Toby Kamps, Dr. Andreas Kreul, director of Bremen’s Karin and Uwe Hollweg Foundation, Patrycja de Bieberstein Ilgner, Hollweg Foundation archivist, and Dr. Katy Siegel, Hunter College, New York, professor and gallery chief curator, writer, and Wols catalogue essayist.

SATURDAY


The Art Guys, Any of These Locations Would Be An Excellent Place to Begin a Drawing, 2008, graphite on paper

The Art Guys Art Fair at The Art Guys Convention Center (aka the Art Guys Headquarters), 1–7 pm. What's this all about? Well, it looks a lot like a studio sale, with a pretty excellent selection of pieces available, including one of my faves (the drawing above).


Dick Wray, untitled, ~2000

Lives Played Out on Canvas: Paintings by Otis Huband, Richard Stout, and Dick Wray at William Reaves Fine Art, 3 to 6 pm. Three of Houston's earliest abstractionists, Otis Huband, Richard Stout, and the late Dick Wray, share a show.


Dorothy Hood, Red Hill

Dorothy Hood, The Lost Paintings at New Gallery, 3 to 5 pm. This is a show of works from Hood's estate that have not been exhibited for at least 14 years. Saturday has shaped up to be a good day for looking at the work of pioneering Houston artists like Dorothy Hood, Wray and Stout.

WEDNESDAY


Karen Finley at DiverseWorks, 6 – 8 pm. As part of the Eleventh Hour, DiverseWorks' retrospective exhibit, Karen Finley will read selections from We Keep Our Victims Ready, which she first performed at DiverseWorks in 1989 (the year before she gained unwanted membership in the group the "NEA 4," four performance artists who had their NEA grants vetoed because of their controversial content). Expect a SRO event!

Real Estate Art #4

Robert Boyd

For this installment of Real Estate Art, we're going to leave the wealthier precincts behind and look at a more middle-class offering in Mangum Manor, just north of 290. This is one of those houses that looks pretty boring from the outside but is actually quite interesting on the inside. And this is how I think of the suburbs in general: you drive through subdivisions full of houses that from the outside display almost no sense of individuality whatsoever. But sometimes when you get past that front door, you find creative, eccentric, even daring people.

So this house has numerous pieces of decorative wall art, some quite amusing (a framed poster for Attack of the 50 Ft. Woman, for example), but what interest me are two pieces of art that look like they are originals, each showing two faces.





Two woman, one wearing a tiara, clearly having the time of their life. Are they necking? Not sure. This painting doesn't wow me with its execution, but it does impress me with its subject. Usually when I look at the art on peoples walls in the real estate listings in HAR.com, I find my stereotypes of the kind of art that the owners of such a house would like brutally confirmed. Back in the early 90s, the Russian-American conceptual art team Komar & Melamid conducted a poll to find out what kind of paintings Americans would most like. The results were, of course, absurd (but really funny). The inherent flaw with their approach is that they asked questions. A better way to approach it would be to see what Americans actually like based on what they choose to hang in their homes. That's what you get when you look at a lot of these real estate photos, and after a while, it all starts to look the same.



That's what I like about this house. These two double portraits are so unexpected (and so fun) that I want to meet the people who live (lived?) inside this house that from the outside seems so ordinary. The second portrait appears possibly to be a work in progress. Could this be the home of an artist? Does anyone recognize the work?

A Borges Shaped Hole

Robert Boyd

June 1985. I had a summer job on a seismic boat in the Gulf of Mexico. Anticipating plenty of reading time, I brought several books with me, including the Labyrinths (Modern Library, 1983), an anthology of fiction and nonfiction by by Jorge Luis Borges. It was a good trip for reading--I also read Moby-Dick and Guerrillas by V.S. Naipaul. All astonishing books, but Labyriths was the one that engrossed me most. By the end of summer I had also read Brodie's Report and had become a life-long devotee of the bookish Argentine writer.

Winter 1987. I had a job in Brazil and took occasional side trips to Buenos Aires.  I loved exploring old bookstores there. I spent two days in La Recoleta Cemetary looking for the Borges family mausoleum. It was a maze--a labyrinth--of extravagant, beautiful tombs. Of course I never found it. Borges is buried in Geneva.

2000. I wrote and published a short pamphlet called Ron Regé and his Precursors, an homage to Borges' classic essay, "Kafka and his Precursors."

Early 2010. I saw Ward Sanders' work at Hooks Epstein Gallery for the first time. Each piece is a wooden box that appears quite ancient, filled with a strange cacophony of seemingly antique objects and pieces of paper. They are like wunderkammern, the Renaissance collections of curious artistic and scientific objects that prefigured the modern museum. But Sanders' boxes aren't meant to show real history, but to construct artificial antiquity. They are like collections of hrönir, the objects on the planet of Tlön in the Borges story "Tlön, Uqbar, Orbis Tertius" which are found (and thus come into existence) because someone is searching for them.

The systematic production of hrönir (says Volume Eleven) has been of invaluable aid to archaeologists, making it possible not only to interrogate but even to modify the past, which is now no less plastic, no less malleable than the future. ("Tlön, Uqbar, Orbis Tertius" by Jorge Luis Borges, translated by Andrew Hurley)

I was spell-bound by Sanders' objects. I bought one called Zarzuelas.


Ward Sanders, Zarzuelas (closed), assemblage, 11" x 16" x 5.5", 2010

 
Ward Sanders, Zarzuelas (partially open), assemblage, 11" x 16" x 5.5", 2010


Ward Sanders, Zarzuelas (open), assemblage, 11" x 16" x 5.5", 2010 

October 2011. Another show by Sanders at Hooks Epstein Gallery. This time, Sanders made the literary quality of the work more explicit by adding a bit of gnomic text to each piece. The texts reminded of Borges. I met Sanders and we got to talking about literature. He told me he loved Italo Calvino. He recommended Sum: Forty Tales from the Afterlives by David Eagleman. But then he shocked me by admitting that he had never read Borges.

To me, Sanders' boxes are like illustrations of imaginary Borges stories. I told him that he must read Borges. I said, you have a Borges-shaped hole in your literary life. This void had just been waiting for him to fill it. His excuse was that he didn't want to start into a writer's oeuvre if it was too vast. I smiled and told him that all of Borges' fiction fits into a single large volume.

September 2013. Sanders has a two person show (with Jacqueline Dee Parker) up at Hooks Epstein. I went there for the opening, but the space was so crowded that I decided not to enter. I walked past and looked at some art in other galleries. I came back a little later and the space had opened up a bit. I went in and there was Sanders.

He came up to me and let me right back out of the gallery. We went to his car. He had something for me in a paper shopping bag. It was a wooden box made of rough old wood and has a glass top. Under the glass are three sections. The top section has an antique comb. The central section has what I think is a cat skull with a metal attachment (that looks a little like a toe clip from a bicycle) and some pieces of string. The bottom is stuffed with old blue pieces of paper that look a little like laundry tickets. The box is titled A Borges Shaped Hole (for Robert Boyd).


Ward Sanders, A Borges Shaped Hole (for Robert Boyd), assemblage, 2013

He included a card with a Borges epigram: "That one individual should awaken in another memories that belong still to a third is an obvious paradox." On such an occasion, Borges would no doubt have some erudite statements on the heterogeneous history of gift-giving. I was just speechless.

 

In the Eleventh Hour, Cuteness

Seen last night at Diverse Works.


Mel Chin, Jilava Prison Bed, 1982, steel, cotton batting, cotton, 42 by 37 by 69 inches

Where the Artists Are

Robert Boyd

About a week ago, I asked artists to respond to an informal poll about where they lived. I wanted to see if there were particular neighborhoods that artists favored. I got 52 responses and added to that 22 artists and their dwellings that I personally knew about. This is in no way a scientific poll (below I'll talk about the information I'd want for a better poll). But the results are interesting and suggestive.

One thing I asked was whether you rented, owned or had some other arrangement (for example, you live with someone but don't pay rent). Respondents said the following:


I think this result reflects the age of the respondents. In some cases I know (roughly) the ages, and I suspect that the older you are, the more likely you are to own your home. In any case, a similar poll in New York would probably yield a very different result. This is one advantage for artists Houston has over New York or other art capitals. Buying a building in Houston is very much doable for artists, particularly if you are willing to live in a marginal neighborhood (which many artists are more than willing to do). Har.com is currently listing 19 houses for sale in Houston for less than $20,000, for example.

Owning a house provides you a hedge against gentrification--if your neighborhood becomes more valuable, your property likewise increases in value. You can use it as collateral for a loan or sell it for a capital gain. A renter, on the other hand, faces nothing but years of rent hikes as his neighborhood gentrifies.

Above are the neighborhoods that respondents gave us. When I read these neighborhoods, what struck me was how many I had never head of. Many of them are subdivision names, left over from a time when some developer was trying to market the houses there. The biggest surprise for me was Glenbrook Valley. Glenbrook Valley seems like a typical Houston developer-coined name for a subdivision. It is redundant (a glen is a valley), it is incorrect (there is no valley there), and it ignores the one natural feature that does exist there, Sims Bayou (hardly a "brook"). This is a neighborhood just north of Hobby Airport.

Glenbrook Valley surprised me because I had no awareness of it before. It not only wasn't on my radar as an artsy neighborhood like Montrose or the Heights, it wasn't on my radar at all. There are no artistic institutions there--no galleries, no art spaces, no museums. The closest is the Orange Show, as near as I can figure. But apparently a few artistic types have found it an amenable place to live.

Eastwood is a little less of a surprise. Eastwood is a neighborhood just north of I-45 and of UH.

I was very surprised to see that there were artists living in Greenspoint, a neighborhood that to my mind has nothing to recommend it (except for easy access to some pretty good Mexican food).

Independence Heights was already well-known as an artists' enclave known as Itchy Acres.



Houston is divided into "superneighborhoods" by the city of Houston, and I decided to look at their artistic population. (The "blank" entries reflect respondents who do not live in Houston.) No big surprises here.

If I were running this as a more scientific poll, I would have included some more demographic information--specifically age and marital status, two items that I think are strongly related to home ownership. (Younger unmarried people are less likely to own homes.) I'd also like to know what the primary source of income for one's household is. If you make most of your income from doing art, I suspect (but don't know) that you may be less likely to own a house and more likely not to live in a gentrified neighborhood like Montrose or the Heights. (I can think of several exceptions I know, however.) If your primary income comes from teaching, your spouse's job, or some other day job you have, you may be more likely to own a house. But these are just guesses! That's why I wish I had done a more serious, thought-through poll instead of the very casual one here.

Still, this is interesting information. If, as has been suggested many places, artists are on the cutting edge of gentrification, some real estate sharks might start investing in Glenbrook Valley and Eastwood. Of course, they may be too late--there are houses going for over $400,000 in Eastwood. However, Glenbrook Valley still looks like a bargain. If I were in the market, I'd snap up the Glenbrook Valley house pictured below.



Designed by modernist architect Mel O'Brien and built in 1957, it can be yours for $139,000. It would nice if artists moved into this lovely mod. Apparently they'd have some pretty artistic neighbors, too.

Pan Recommends for the week of September 5 to September 11

Robert Boyd

This is the busiest weekend of the year as far  as gallery and museum openings go. Below is a list of most of what's opening this weekend--33 exhibits by my count. Can one possibly see them all? I think so--and to make it a little easier for you, I've grouped them by geographic proximity, which should help the dedicated art trekker minimize her travel time.

THURSDAY

Thursday's relatively easy--three openings within a three-block radius.


photo by Galina Kurlat

A Likeness by Main Street Projects. A group exhibition displaying recent contemporary works by Main Street Projects founders Brandon Dimit, Theresa Escobedo, Galina Kurlat, and Rahul Mitra.
 
Eduardo Portillo: New Work at The Gallery at HCC Central- Houston Community College , 5–7:30 pm. Somehow these HCC exhibits are related to the Texas Biennial, which sprawls over 80 participating institutions and is so diffuse in my mind that it doesn't really have an identity. I would expect some large rag dolls if this is a typical Eduardo Portillo show.
.
Melanie Miller, Silk Road 5, 2013, acrylic on paper, 44"x30"

Melanie Millar: New Work  at The Gallery at HCC Central- Houston Community College, 5–7 pm. Decoration informs Melanie Miller's work.
 
FRIDAY

For your Friday perambulations, there are two clusters and three singletons. First is the Isabella Court Galleries on Main (with Diverse Works one block south). 


Barry Stone, Bouquet 3487_1, 2013, archival digital print, 24 x 16 inches

Barry Stone: Look Near Into the Distance at Art Palace, 6 to 8 pm. Check out this beautiful on-line catalog. I like Barry Stone's photos so much that I bought one. I look forward to seeing the digitally distressed flowers like the one above.


Wayne White, DUNNO, 2013, acrylic on offset lithograph, 25 1/2 x 45 1/2 inches

Wayne White: Dunno at David Shelton Gallery, 6–8 pm. From his early comics to his Peewee Herman Show puppetry to his word paintings, I have loved Wayne White's work literally for decades. I think this is his first show in Houston since the amazing Big Lectric Fan installation.


Todd Hebert, Goose With Glacier, 2013

Todd Hebert: Ebb and Flow at Devin Borden Gallery, 6–8 pm.



Somehow, this appropriated press photo is part of Katrina Moorhead's exhibit

Katrina Moorhead: The Bird that Never Lands(cape) at Inman Gallery, 6–8 pm.


Rachel Hecker, Eleventh Hour, 1992 acrylic on wood, 120 x 80 inches, (destroyed)

The Eleventh Hour featuring Elia Arce, Eric Avery, Johannes Birringer, Mel Chin, Ben DeSoto, Karen Finley, Michael Galbreath, Guillermo Gómez-Peña, the Gorilla Girls/Houston, Deborah Hay, Sharon Hayes, Rachel Hecker, Zhang Huan, Infernal Bridegroom Productions, Rhodessa Jones, William Pope.L, Annie Sprinkle, Mary Ellen Strom, and many others at DiverseWorks, 7–9 pm. I'm not sure what to expect, but this exhibit seems to be about the history of Diverse Works itself. Presumably the above painting will not be included, alas.

Then there are the galleries at 4411 Montrose...

Katja Loher: Who Collects Clouds in the Sky? at Anya Tish Gallery, 6 to 8:30 pm. Katja Loher's kaleidoscopic videos are always fun to look at.

Michael Crowder, Mariposa

Retro-spectacle: Michael Crowder at Wade Wilson Art, 6–8 pm. Michael Crowder produces delicate, surprisingly conceptual glass artwork.

Lauren Kelley, Stills from “Brown Objects (Pink Head)” 2013

Lauren Kelley: Puce Parade at Zoya Tommy Contemporary, 6–8 pm.

Gavin Perry, Untitled, 2013, Pigmented resin, vinyl on board, 72 x 96 inches

Gavin Perry: End of the Line at Barbara Davis Gallery, 6:30–8:30 pm.

Finally, you'll have to drive hither and yon to see the three shows below.


Dan Havel, Wall Burster

Dan Havel: Homewrecker – Disrupted Architecture at  Avis Frank Gallery, 6-8 pm. -I'm very interested in seeing what Dan Havel does outside his Havel+Ruck partnership. The pair have forged such a distinct artistic identity that I can't quite imagine what one of them alone will be like!


Tom Marioni: The Act of Drinking Beer from Smart Museum of Art on Vimeo.

Feast: Radical Hospitality in Contemporary Art including art, documentary materials, and new public projects by Marina Abramović and Ulay, Sonja Alhäuser, Miguel Amat, Mary Ellen Carroll, Mary Evans, Fallen Fruit, Theaster Gates, Felix Gonzalez-Torres, InCUBATE, The Italian Futurists, Mella Jaarsma, Alison Knowles, Suzanne Lacy, Gabriel Martinez, Lynne McCabe, Lee Mingwei, Laura Letinsky, Tom Marioni, Gordon Matta-Clark, Mildred’s Lane, Julio César Morales and Max La Rivière-Hedrick, motiroti, National Bitter Melon Council, Ana Prvacki, Sudsiri Pui-Ock, Michael Rakowitz, Ayman Ramadan, Red76, David Robbins, Allen Ruppersberg, Bonnie Sherk, Barbara T. Smith, Daniel Spoerri, and Rirkrit Tiravanija at the Blaffer Art Museum at the University of Houston, 7:00 pm. This is the kind of show where even if the work in it is not so good, at least there will be something to eat, right? The Art Guys will apparently be among the bartenders at The Act of Drinking Beer With Friend is the Highest Form of Art by Tom Marioni.


It's not performance art without naked guys--Josh Urban Davis

Submission featuring performances by Joshua Yates, Unna Bettie, Ryan Hawk, Daniel Bertalot, Patrick Doyle, Karen Mazzu, Renee Cosette Pedersen, Josh Urban Davis, Hilary Scullane, Raindawg, Jana Whatley, Neil Ellis Orts, Y. E. Torres, Koomah, Tina McPherson & Sandy Ewen, Evan McCarley, Julia Wallace, Jonatan Lopez, Chris Meadows and Emmanuel Nuno Arambula at Summer Street Studios, 9 pm – 12 am.If you aren't completely exhausted from looking at art, you can go check out some performance in the vast spaces of Summer Street.

SATURDAY

The big cluster here is Colquitt St., home to many galleries having openings this week.


Anna Ferrer, Rain Flower Trench Coat

Red Hot by Anna Ferrer at Nicole Longnecker Gallery, 5–7 pm.

Michael Bise, Life on the List comics pages

Love in the Kingdom of the Sick: Michael Bise at Moody Gallery, 5–7 pm. Graphite drawings and pages from his comic, Life on the List, will be on display. The comic deals with Bise's heart transplant and has been fitfully serialized on Glasstire.


Rusty Scruby, Crown Point, 2013

If You Cut It, They Will Come featuring Sandi Seltzer Bryant, Jane Eifler, Michael Guidry, Ted Larsen, Lance Letscher and Rusty Scruby at McMurtrey Gallery, 6–8 pm.

Ward Sanders, A Short History of Dust, 2013 , assemblage , 7 x 9 x 2"

Jacqueline Dee Parker: The Gameboard and Ward Sanders: Birds of Time at Hooks-Epstein Galleries, 6–8 pm. I don't know much about Jacqueline Dee Parker, but Ward Sanders is an artist I have followed eagerly for several years (and own a piece by). His work is perfect for bookish lovers of Borges and Calvino.


Randall Reid, Crime Fighters, found printed metal object w/ printed and painted metal parts, on wood and steel box construction, 6.75" x 7"x 2" y. 2013

Randall Reid: A New World at d. m. allison, 6–8 pm.

Rachel Phillips, Blue Smoke Rising, Wet transfer pigment print on vintage envelope

Rachel Phillips: Field Notes at Catherine Couturier Gallery, 6-8 p.m. I'm unfamiliar with Rachel Phillips, but the work looks intriguing--and looks like it will go well with the Ward Sanders art shown next door at Hooks-Epstein.

Then up in the Heights there is the two-gallery cluster on 11th Street...


art by Jon Read

Jon Read: The Shrine to the Myth of Man and Yuliya Lanina: Not a Sad Tale at G Gallery, 6–9 pm.

b. moody, o this crushing burden - these sins of my fathers what fetid weight this melancholy we call the deep south surely the day of reckoning is upon this land of cotton for behold: the conversion of St. Stonewall on the road to Damascus, Georgia

An American Family: b. Moody at Redbud Gallery, 6–9 pm.

But after that, you are going to have to drive all over the inner Loop to see the art opening tonight. 

work by Perla Krauze

Perla Krauze: Suspended Blues at Gallery Sonja Roesch, 5–7 pm.

Stephanie Reid

Stephanie Reid: Hidden Places at the Jung Center, 5–7 pm.


Miguel Angel Ríos, Untitled (from the series The Ghost of Modernity, 2012. Single-channel video, 3:11 min.

Miguel Angel Ríos: Folding Borders at Sicardi Gallery, 6–8 pm.

Collective Identity featuring Robert Barry , Jessica Crute , Jenny Holzer , Christian Tomaszewski , Philippe Tougard-Maucotel and Christian Xatrec at Deborah Colton Gallery, 6–9 pm.

James Ciosek, Unknown Soldier, found corrugated tin patterned by buckshot, found corrugated fiberglass, red plexiglass, fluorescent lights with red lenses, cement, 29 by 54 by 14 inches

in-DEPTH: Texas Sculpture Group Member Exhibition at the Art Car Museum, 7–10 pm.This is another TX Biennial-related show. I'm not sure of the included artists, although apparently James Ciosek is one of them, which is a good sign!

...mistress: Regina Agu at BOX 13 ArtSpace, 7–9:30 pm.



The New Black – Angela Malchionno at Box 13, 7-9:30 pm.

WORDPLAY: curated by Sapphire Williams featuring work by Logan Sebastian Beck, Harry Dearing III, David Feil,Sebastian Forray, Jorge Galvan, Matthew Gorgol, Jordan Johnson, Lillie Monstrum, Darcy Rosenberger, and Sapphire Williams at  BOX 13 ArtSpace, 7–9:30 pm. When a show is described as aiming "to examine a current generations’ interest in text and semiotics," I reach for my revolver. But this has some artists I really like, including the excellent Jorge Galvan, who doesn't show his work very often.

a God's Eye outpost by Kate Kendall, Box 13 Artspace, 7-9:30 pm.


The Brandon: Group Show from Cody Ledvina on Vimeo.

Group Show (50 Humans) featuring Mark Flood, Trenton Doyle Hancock, Robyn O'Neil, Rachel Hecker, Michael Bise, Aaron Parazette, John Sparagana, Tisch Abelow, Otis Ike, Georganne Deen, Lane Hagood, Jeremy Deprez, Seth Alverson, Jim Nolan, Cheyanne Ramos Forray, Gabriel Martinez, Hillerbrand+Magsamen, Tony Day, Shane Tolbert, Keith Varadi, Raymond Uhlir, Kent Dorn, Dylan Roberts, Ana Villagomez, Michelle Rawlings, Brandon Araujo, Jack Erikkson, Sebastian Forray, Ryan Storm, Ludwig Schwarz, Marjorie Schwarz, Brian Moss (B.Moss), Lauren Moya Ford, Miguel Martinez, Wayne Gilbert, Debra Berrera, Anne J. Regan, Patrick Turk, Chris Cascio, Jessica Ninci, Angel Oloshove, Russell Etchen, Geoff Winningham, Mike Osborne, Dennis Harper, Guillaume Gelot, Avril Falgout, Bill Daniel, Donal Mosher, Keith M. Wilson, Bill Willis, Dennis Nance & James Hays and Kayla Escobedo at The Brandon, 7–10 pm. The Brandon (the gallery in the space that used to be Domy) is starting off with a bang. It includes Houston's two hottest artists, Mark Flood and Trenton Doyle Hancock, many interesting "out-of-towners" (Robyn O'Neil, Georganne Deen, Tisch Abelow and maybe more), and many of Houston's best artists, young and old. Two surprises for me were Geoff Winningham, my old photography professor and longtime chronicler of the Gulf Coast) and Avril Falgout, the 15-year-old sculptor who made a huge splash at The Big Show this summer.

Hogan Kimbrell, Athelete

Texas Bi 2013 featuring Vonetta Berry, Linda Cornflake, Ryan Hawk, Hogan Kimbrell, Koomah, Traci Matlock, Madsen Minax, Tish Stringer, Y.E. Torres, Stalina Villarreal and Julia Wallace at Gallery 1724, 8–10 pm. No associated with the Texas Biennial, all the work in this show somehow deals with bisexuality.