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50 Ways To Fall In Love. Colorado artist Pard Morrison, whose 50 Ways To Fall In Love is at Rule Gallery, calls sculpture and painting the "body" and "soul" of art, respectively. This is more or less the explanation of his elegant style, which he calls "human minimalism." Exemplars of Morrison's human minimalism reveal a combination of crisp, rectilinear forms with striated and brushy patinated finishes. These luxurious surfaces are the product of repeatedly baking on the colors so the shades are modulated, as opposed to homogenous. The variations within single colors are the product of the brush marks that permanently preserve the artist's touch. The precise crafting of the aluminum boxes and the super-precise margins between the colors are juxtaposed with these painterly passages. The contrast is subtle and only apparent on close examination. The relationship of Morrison's work to American Indian blankets is undeniable, and one of several things that mark his style as Western. Through January 5 at Rule Gallery, 227 Broadway, 303-777-9473. Reviewed November 22.

Muniz Remastered. Creating intelligent work with oddball materials, including Bosco chocolate syrup, string, dirt, magazine ads, backhoes and skywriting airplanes, is the signature specialty of Vik Muniz, a Brazilian-born New York artist. His actual medium is photography, which he uses to record the ephemeral images he makes or orchestrates, but in truth, he doesn't consider himself a photographer, and that's understandable. The artist's cleverness and intelligence is shown off to great effect in Muniz Remastered: Photographs From the West Collection, one of the most compelling exhibits in town during this year's strong fall season. The extravaganza was co-curated by Devon Dikeou and Lee Stoetzel and surveys Muniz's outlandish explorations of other people's work, including that of Rembrandt, Géricault and Cezanne. It's too bad the show has not been arranged chronologically, though it looks gorgeous as it is. Plus the ten-year-span covered by this presentation is a relatively short period of time, so everything is essentially from the same era. Through January 20, at the Museo de las Américas, 861 Santa Fe Drive, 303-571-4401. Reviewed November 15.

Nothing Is Hiding. A decade ago, William Stockman was a household name among Denver artists and considered to be among the most talented players around. But in 2000, Stockman impetuously split town, returning in 2002. Needing to make a living, he turned his back on his art career until last year, when he got back in the studio. Nothing Is Hiding, a solo at Singer Gallery, is devoted to the poetically composed paintings and drawings he has done since he restarted his career. The newer work marks a shift in his approach. Previously, Stockman had taken one tack for his drawings and another for his paintings. Now the paintings are more in line with his drawings. In fact, each of the paintings in the show is based on a specific drawing, with both types being anchored by incongruous things or figures. These subjects create ambiguity that gives the show's title an ironic twist. Through January 18 at the Singer Gallery, Mizel Arts & Culture Center, 350 South Dahlia Street, 303-316-6360. Reviewed December 13.