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Angela Beloian and Roger Hubbard. For In Technicolor, her new exhibit at Walker Fine Art, Boulder artist Angela Beloian created a body of retro '60s and '70s paintings and screen prints based on "sketches" done using an iPhone. The works refer to minimalism, abstract surrealism and psychedelic art using just a couple of formal moves. Using flowing organic lines done with hard edges, Beloian orchestrates overlapping pictorial elements: the ground and, on top, overlapping color fields. As each of the fields crosses the other or the ground, a color shift occurs. When gray runs over lavender, for example, the two colors aren't blended, but rather stacked, with the intersection of the colored forms coming out blue. For Beloian, these shifts suggest light, shadow and the implication of three-dimensionality, with the results being incredibly fresh-looking. The Beloians have been paired with kinetic sculptures by Roger Hubbard from Arizona. These polished-steel contraptions move easily but need to be started with a push, and are too heavy to respond to the subtle movements of the air. Through September 6 at Walker Fine Art, 300 West 11th Avenue, #A, 303-355-8955,

ID Series. For this show, Sandra Phillips brings together artists who've created works based on codes. The featured artist is Sue Simon, who is brand-new to Phillips but has been showing her art for many years. Simon focuses on conveying scientific concepts in an abstract manner — a logical development, since she used to work as a scientific illustrator. Her pieces concern mathematical expressions of DNA applied over angular abstract forms and carried out in a range of approaches, from smooth to wildly tactile. Interestingly, collaborative artists Dana Kleinman and Ruth Avra, who work under the name Kleinman Sisters, also look at DNA. Their wall pieces combine aluminum panels made by Avra laid over oil painted panels by Kleinman. Finally, there are the sophisticated conceptual collages by Dave Phelps, who, unlike the others, is not looking at DNA, but at UPC — the Universal Pricing Code. He's taken the linear codes from boxes, cut them out, and arranged them in stacks on panels. As simple as the idea is, it really works. Through September 6 at Sandra Phillips Gallery, 420 West 12th Avenue, 303-573-5969, Reviewed August 14.

Introductions II. Part of a crop of new galleries that have been sprouting up like mushrooms around town in the past few months, Michael Warren Contemporary occupies the storied Santa Fe Drive space that formerly housed the van Straaten Gallery, and before that, the Sandy Carson Gallery. The current exhibit, Introductions II, is, as the suffix suggests, a follow-up to Introductions, which was presented earlier this summer. That show was an everything-but-the-kitchen-sink kind of thing, with a zillion artists included, whereas this one is more focused, zeroing in on just eight artists from the gallery's stable who are each seen in some depth. There is no particular theme, with some artists working with representational imagery while others work abstractly, and it includes paintings, sculptures, installations and photographs. In the show are several established artists, plus a couple of emerging ones, most of whom are from Colorado or have some connection to the state, including Yoshitomo Saito, Robert Brinker, Heidi Jung, Patsy Krebs, Collin Parson, Thomas Müller, Paul Sisson and Meghan Wilbar. Through September 6 at Michael Warren Contemporary, 760 Santa Fe Drive, 303-667-2447,

Joseph Coniff (in parenthesis). This is only the second presentation to open at the Rule Gallery since the untimely death of Robin Rule late last year. It was important to Rule that the gallery continue, so three longtime associates — Valerie Santerli, Rachel Beitz and Hilary Morris — are carrying on her vision. Rule might roll her eyes at the tumble-down character of the entry to the gallery, but she'd surely approve of the exhibition space where the Coniff show is installed. The work is from Coniff's recent "Delineation" series, made up of sublimely elegant post-minimal paintings. Coniff creates hard-edged works in which he stacks three horizontal bars. The bottom is broad and painted; the one in the center is covered in vellum adorned with a delicate graph pattern; and the one on top is a thinner bar of color. Despite the unnatural shades, it's clear that the works refer to landscapes. Also included is an irreverent sculpture made from an upended lamppost stuck in a bucket of concrete, done last year. It provides the perfect counterpoint to the cerebral paintings and works on paper. Through September 6 at Rule Gallery, 3254 Walnut Street, 303-800-6776,

Outside in 303. This summer feature at the Museo de las Amesricas is absolutely spectacular, with each of the included artists being given lots of space to stretch out. Conceived and organized by Museo director Maruca Salazar with help from the Denver Art Museum's Gwen Chanzit, the show looks at a generation of young Latino artists who began their careers as graffiti taggers. The group's mentor is Jack Avila, who is represented by an incredible wrap-around mural and installation in the large back gallery. Also doing standout work is Mario Zoots; known best for his collages, Zoots is also a painter, as evidenced here in his mural. Josiah Lopez has rendered full-figure studies of the people in the neighborhood, done in a traditional realist style on separate sheets of paper spread across the wall. Then there are some funny — and great — neo-pop portraits by Victoriano Rivera that relate well to the abstracted pop paintings by "Kans 89" (Josh Rogers). All of the works reflect the shared heritage of the artists, but none are more clearly Mexican than those by Javier Fidelis Flores and Gabriel Salazar. Through September 24 at the Museo de las Americas, 861 Santa Fe Drive, 303-571-4401, Reviewed July 24.


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