Appalachia: Overloaded with just way too much, Gean Moreno's "Appalachia" is more like horror vacui, a reflection of our times. Technically they are (executed as) drawings, but these are more hypercollages with glued bits of everything you can imagine: tiny trinkets, diverse stamps, laced curios, motley paper surfaces that offer color, texture, and visual feel. A detailed and carefully executed labor, these works stand out as puzzling and hip visual metaphors. If you come closer, you can see all the nuance and patience. Yet I found trouble in the bric-a-brac execution of some of the materials and ideas. Moreno has three sculptures and -- in my opinion -- they stand out as just the right essence of his collages, consistently expressed in three dimensions. -- AT Through April 15. Fredric Snitzer Gallery, 3078 SW 38th Ct. 305-448-8976.
Paintscapes: Black-and-white paintings are not easy to handle, conceptually speaking. The quandary is that after Ad Reinhardt's manifesto, 12 Technical Rules, monochromaticism must entertain a concept, that is to say: "No trace of a brush stroke ... no form ... no design, no space, no spatiality, no proportion and no size, no movement, no object, no subject ... no representation or sign." Norman Liebman's "Paintscapes," a show of black-and-white paintings, violates the Reinhardtean credo in at least five points. He goes really heavy with matter buildup, the works resembling black-and-white topographic maps of glossy oil primer on canvas. Liebman also evokes a hodgepodge of themes: Valhalla ... Tabula Rosa, Magna Alba ... even Eine Kleine Schwarzmusik. At least we know this is definitely not a conceptual exhibit. -- AT Through May 16. Leonard Tachmes Gallery, 817 NE 125th St., North Miami. 305-895-1030.
The Simple Forms: Travel through time with artist Alyson Shotz. Her work brings forth ideas of order, symmetry, and elegance, a blend of man-made and natural. This is computer-generated imagery and yes, it's art. Shotz takes us to imagined worlds where, depending on your persuasion, patterns may resemble blown-up cells, cross sections of plant stems, or magnified igneous rocks. Her installation with sound invites you to go through a makeshift forest path filled with long, flexible, metal filaments (like caressing pistils) adhered to the wall. A hanging Shotz sculpture made me think of Verner Panton's famous Mother of Pearl Lamp from the Sixties. -- AT Through April 17. Ingalls & Associates Gallery, 771 NE 125th St., North Miami. 305-981-7900.
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