By Daniel Reskin
By Hans Morgenstern
By George Martinez
By Pablo Chacon Alvarez
By Ciara LaVelle
By New Times Staff
By Rich Robinson
By Hannah Sentenac
Drawing Conclusions 2: Curated by Nina Arias, this show features the work of more than twenty locals, most from the Rocket Projects stable. Arias curated the first installment of "Drawing Conclusions" during the inaugural Art Basel, but quickly dismisses comparisons between the two versions. Still it's difficult to disregard the obvious. While the space is limiting for the large array of work in the gallery, it provides a challenge to those willing to separate the wheat from the chaff, and is well worth the effort of going beyond a cursory reading, yielding subtle political and social commentaries from several participants. -- Carlos Suarez de Jesus Through July 31. Rocket Projects, 3440 N. Miami Ave. 305-576-6082, www.rocket-projects.com.
Florida Artists Series: R.F. Buckley and Clive King: FIU visual arts faculty members Buckley and King exhibit way too many artworks in a small museum. Overhung inevitably leads to overworked. In the case of Buckley, despite a few serendipitous still life elements, the forged and welded aluminum doesn't reward the effort he applies to its patina. King's totemic wicker sculptures and drawings over photocopies of archaeological/mythic figures have a jittery, animated quality but suffer from a feeling of being canned. His triptych Dispatches from the Nether Regions conveys his themes more directly, and a spontaneous use of materials makes it immediately more vivid. -- Michelle Weinberg Through August 15. The Patricia and Phillip Frost Art Museum at Florida International University, University Park Campus. SW 107th Avenue and SW Eighth Street. 305-348-2890.
Spue: Robin Griffiths's sculpture exhibit at Dorsch Gallery is, in the context of today's sometimes-contrived art, a celebration of human invention. Part gallery-inside-a-gallery, part stage set for a Jules Verne movie, part mad scientist's cabinet of curiosities, part living-quarters-turned-art, Griffiths's sculptures pull you from different angles. Perhaps there's too much, but it all makes sense because it's all about the métier. These are idiosyncratic displays of a life: Griffiths's high school jeans collection, his guitar and stereo playing Miles Davis's Kind of Blue. It is art mimicking life, and vice versa -- but truly authentic. -- Alfredo Triff Through August 28. Dorsch Gallery, 151 NW 24th St. 305-576-1278.
Upper Class: Hugo Tillman's exhibit seems to be one of the most creeped-out photography shows to come down the pike in a while. After all, who would willingly be surrounded by portraits of a bunch of fossilized blue bloods from Newport and Palm Beach? Tillman's conceptual premise is simple enough: He poses and photographs the scions of America's vaunted WASP aristocracy. In an election year, when oil-slick dreams of dynasty abound in Washington, and the rift between the landed gentry and have-nots seems wider than ever, "Upper Class" is a show that is at once funny, scary, and politically relevant. -- Carlos Suarez de Jesus Through August 31. Marina Kessler Gallery, 2628 NW 2nd Ave. 305-573-6006, www.marinakessler.com.