I love this object at Greg Kucera, by Margie Livingston. It's as if these two artists had a tiny pantyhose-shaped paint baby. Yes, Livingston's wearing her debts on her sleeve in these new works, but let's see where she's going. And this piece is an undeniable little hit. (I also like the decals, the folded laundry pile cubes, and this funny little accretion.)

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Tannaz Farsi's installation in response to the Iranian demonstrations this summer, at OHGE Ltd., is beautiful and layered. It involves a pile of glitter-coated roses (and a light coating of glitter covers the stairs leading up to the gallery, having fallen off the roses on their way up), a megaphone, fluorescent lights, the hint of a billboard, the words "I FORGOT" in block letters, and quite a lot of white paint. I've just scratched the surface in thinking about it; my on-the-spot preopening podcast with the Eugene-based Iranian-born artist will be coming early next week, when I'm back from Miami.

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Platform Gallery's landscape show The There is a there; it's arranged as its own topography, with ups, downs, ins, outs. You'll have to see it to see what I mean. Here's Jesse Burke's photo Nazareth. It's hard to make out here, but in the large print, every trace of color stands out on the houses in this stark environment. The birds packed in the tree give the impression of being on the verge of all taking off at once. Jesus's hometown: abandoned.

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