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A new Gardner, plus landscapes, performance art, and RAD

Shapeshifting

By GREG COOK | December 30, 2011

Sue Williams | American Enterprise, 2009 | oil and acrylic on canvas | 52 x 62 inches | Courtesy 303 Gallery, New York

FIGURING COLOR | Institute of Contemporary Art | February 17–May 20 | Bright colors and fleshy forms embody artists' thoughts about our bodies in new ICA curator Janelle Porter's debut show here. Sue Williams creates a cyclone of collaged red, white, and blue human organs. Kathy Butterly fashions droopy, cartoony ceramics. Felix Gonzalez-Torres piles up candies equal to the weight of the artist and his lover lost to AIDS. Roy McMakin fills a room with gray furniture recreated from memories of his parents' and grandparents' homes.

100 Northern Blvd, Boston | $15 | 617.478.3100 or icaboston.org

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Featured Articles in Museum And Gallery:

CLOTHES MAKE THE MAN | May 13, 2013
What does it mean to be a man? That's the question at the heart of this smart, sumptuous exhibit — one of the best shows in the region this year.

MERRY PRANKSTERS | May 07, 2013
Parked out front of Brown University's gray modernist Granoff Center on a recent sunny morning were one of those 15-foot-tall inflatable rats that unions install in front of businesses they're protesting and a limousine sloppily painted to resemble a yellow and black school bus.

ALTERED IMAGES | April 30, 2013
Among the handsome Washington Street storefronts of AS220's renovated Mercantile Block building, with their neo-old-timey signs, is the residents' entrance to the building. It is against AS220's religion to leave any space empty that can be filled with art. So the lobby is the AS220 Resident Gallery, which occupants of the building take turns filling with their stuff.

IN THE CITY | April 23, 2013
One of the distinguishing characteristics of the Providence art scene is how the city itself has been such a rich subject. A decade ago, the city became a galvanizing topic as artists fought to protect the old mills that served as their homes and studios from demolition — with mixed success. But lately, the community's industrial architecture itself has attracted artists' attention.

THE AFTERMATH OF ATROCITY | April 16, 2013
From the ruins of the Iraq war emerges Wafaa Bilal's "The Ashes Series" and Daniel Heyman's "I Am Sorry It Is So Difficult To Start," on view at Brown University's Bell Gallery.