You still have a minute to see Polari at True Love Art Gallery, the group exhibition that's the visual-art component of the marvelous musical 'Mo-Wave festival. The show contains multitudes, even if those multitudes are a little overly dudey. I came away with a few favorite works. One is by Adam Boehmer who, if I'm not mistaken, is also the singer-songwriter of one of the lead musical acts from 'Mo-Wave, Tenderfoot. He created the collaged portrait of subdued timbertown homoeroticism you see above. (My apologies for the inadequate photo with reflecting fluorescent lights, or maybe it adds a layer of imagining that this vision of history is actually hanging in a wood-paneled conference room somewhere, some den of sexual repression.) Boehmer nestled zones of crumpled magazine pornography on an archival aerial view of the Puget Sound Pulp & Timber company. The land itself is writhing, surrounded by all these hard lots of industry.

Then there's The Democracy of Assholes, a classically balanced, perfectly sanctified dirty/clean geometry of public-restroom silver and gold by Davida Ingram.


Don't miss Kelly O's balls, a watercolor by I-don't-know-who referring to a sexually explicit Akio Takamori sculpture dream, and a tarted-up marionette of Yves St. Laurent by Davora M. Lindner. More here.