Day-Glo, both as color palette and modern invention, tricks the eye into believing that inanimate objects emit inherent electricity. “Two Sheets Thick,” Aaron Curry’s recent show of sculpture, collage, and painting, uses this trick liberally as if to articulate (or scream out loud) the “hotness” of his formal choices. Two of Curry’s six new sculptures (all works 2010), for example, are towering, freestanding constructions of hot pink (Mammut) or fluorescent yellow (Bcklmnmppe) coated aluminum that cause visual vibrations throughout the main gallery. Flat geometric panels bolted together,

By the early 1990s Pierre Picot had largely left the exhibition circuit. A Frenchman who immigrated to the US in his adolescence, studying at UCLA and then CalArts in the ’70s, he surfaced in the ’80s amid waves of New Image painting, neo-expressionism, and appropriationist practice, making a place in this environment with new-imagery mash-ups.

Recently, Picot returned to his French roots during a teaching stint at the Pont-Aven School of Contemporary Art in Brittany, where, shaded by the trees of Gauguin’s Bois d’Amour, he began the series of landscapes shown at Jancar (all Untitled, five in

This overview of two decades of Andrew Lord’s practice affords a fluid view of five series of works, loosely grouped within the exhibition space. Two wall-based works installed near the entrance, between my hands and inside my mouth (both 2010), set the stakes of Lord’s visceral engagement with materials. Plaster peaks and hollows shaped by the negative spaces of the artist’s body emerge in plaster and beeswax, strengthened by burlap. Created out of sight, through a purely haptic encounter of body and materials, the resulting forms are then rendered visually through accompanying graphite drawings.