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“El Dormitorio” by Eric Scibor-Rylski from “Mexico 2010” at the IDB Cultural Center.

OPENING: “Peep and Strip Show” opens today at the Art League; work by Freya Grand opens tomorrow at Gallery Neptune; “The Fantastical” opens Saturday at Project 4 Gallery.

CLOSING: Work by Margo Humphrey closes tomorrow at the Driskell Center at University of Maryland; work by William Christenberry, Robin Rose, and Donald Baechler closes Saturday at Hemphill Fine Arts; “Personal Interiors” closes Sunday at American University’s Katzen Arts Center.

ONGOING: See our listings.


Critic Maura Judkis examines “New Work” at Hamiltonian Gallery. She writes:

Part Snow White, part science fair project, Linda Hesh’s “In the Garden” takes a wry look at the original sin. One of four artists featued in Hamiltonian Gallery’s “New Work” exhibition, Hesh has laser-etched the word “Evil” into a bushel of apples, which are preserved in a myriad of ways—freeze-dried, pickled, mummified, and pulverized into applesauce. Her photographs explore how one bite of an apple has affected the condition of women throughout all time, but particularly in pop culture, where she pits Disney princesses against dominatrixes, linked by apples, evil, and Eve. The power of language in art unites three of the artists in the show, with each pondering the human condition and societal ills. Alex Kondner’s sand on canvas repetitively urges us to “Evacuate,” and Bryan Rojsuotikul’s self-referential paintings declare that “Art is Cancer” and ask “Whatis This? Some Kinda Avant-Garde Shit?” The answer, Rojsuotikul surely knows, is no.

Critic Louis Jacobson reviews “Mexico 2010: A Vision of the 21st Century” at the IDB Cultural Center:

Alarm bells ought to go off whenever a wall text informs viewers that the photography exhibit they’re visiting was mounted in honor of the 51st annual meeting of an organization’s board of governors. For the Inter-American Development Bank’s exhibit Mexico 2010: A Vision of the 21st Century,” such institutional framing undercuts an intermittently enlightening visual cross-section. The downside is having to wade through earnest images of skyscrapers, green transportation options, and kids and seniors educating themselves using laptops; these photographs look like, well, images made to promote the good works of an international development organization. The hokey captions grate further: Does the image of a farmboy straining to move a cow forward by pushing on its rear end really represent “just one of the many challenges facing young people in Mexico today?” Still, don’t miss Dulce Pinzon’s refreshingly deadpan series of portraits of everyday Mexicans dressed up as superheroes; Eric Scibor-Rylski’s voyeuristic glimpses into the lives of husbands and wives and fathers and sons; and the arresting, diagonal formality of Alan Gerardo Gonzalez Ruvalcaba’s photograph of the narrow strip where sea and shore meet.

IN CASE YOU MISSED IT: “Painting the Town: D.C.’s Introduction to ‘New Brow’ Art Hits a Wall,” Maura Judkis’ feature on the opening of the ambitious “G40: The Summer” exhibit in Crystal City, which ejected two of its artists after they were arrested for tagging the roof of the building housing the show.