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Fri., June 21 and Sat., June 22

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Currents 116: Oliver Laric

Tuesdays-Thursdays, Saturdays, Sundays, 10 a.m.-5 p.m. Continues through May 27

Austrian-born artist Oliver Laric creates work that explores image creation and repetition, which he displays on both the museum and gallery circuit and the online realm. For his new exhibition, Currents 116: Oliver Laric, he presents his video animation Betweenness, which features repurposed mushrooms, people, anime characters and some snippets of the CT scan of the Saint Louis Art Museum's mummy, Amen-Nestawy-Nakht, all morphing into animals. The cycle of looped video blurs all of these borrowed images together, which reveals their shared shapes and forms. Laric also sculpted his own version of Reclining Pan (long on display in the museum's gallery 236) using 3D scans of the original. He used the digital files to "print" sections of the sculpture in various materials on a 3D printer, which he then assembled. Currents 116: Oliver Laric is on display in galleries 249 and 250 from February 22 to May 27 at the Saint Louis Art Museum (1 Fine Arts Drive; www.slam.org). The museum is open Tuesday through Sunday, and admission is free. free admission

Rachel Whiteread

Fridays, 10 a.m.-9 p.m. and Tuesdays-Thursdays, Saturdays, Sundays, 10 a.m.-5 p.m. Continues through June 9

Rachel Whiteread emerged on the London art scene in the "cool Britannia" era of the late '80s and early '90s. The country was doing well financially and culturally, and people were ready to buy contemporary art made by contemporary British artists. Whiteread established herself as a leading light with her casts of everyday objects, which solidified the negative space in, under and/or around them in materials such as wax, plaster, concrete and resin. House, Whiteread's massive, freestanding concrete cast of the interior of an entire three-story Victorian house, earned her the prestigious Turner Prize in 1993, making her the first woman to win. Rachel Whiteread, the new exhibition at the Saint Louis Art Museum, is a retrospective of the artist's career that showcases 96 objects. They range from the small Untitled (Pink Torso), a voluptuous form of the inside of a hot water bottle cast in pink dental plaster, to the expansive Untitled (Twenty-Five Spaces), translucent resin casts of the underside of various chairs and stools arrayed on a game-board-like grid. The exhibit is on display Tuesday through Sunday (March 17 to June 9) at the Saint Louis Arts Museum (1 Fine Arts Drive; www.slam.org), and tickets are $6 to $12 (but free on Friday). $6-$12

How We See: Materiality and Color

Through June 29, 10 a.m.-4 p.m.

Humans can perceive a wide palette of colors, but we don't see as many hues as nature contains. The limitations of human vision are stretched in the Laumeier Sculpture Park's new exhibition How We See: Materiality and Color. Six artists who combine modern art practices with a keen observation of the natural world explore the possibilities of color manipulation and perception. Claire Ashley's specially commissioned, large-scale inflatable Ruddy Udder Dance is painted in neon colors. Volunteers will get inside it and perform a series of choreographed routines that allow you to see how its various shades change with movement and daylight. Ann Lindberg's graphite-and-colored-pencil piece as though air could turn to honey features a closely packed array of thin lines of pure pigment that become subtly darker toward the bottom. From a distance those tints blend and fade, and the piece appears to have a more uniform golden hue. How We See opens with a free reception at 11 a.m. Saturday, March 2, at Laumeier's Aronson Fine Arts Center (12580 Rott Road, Sunset Hill; www.laumeier.org). The exhibit continues through June 29, and admission is free. free admission

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