Visually it's a mixed bag with occasional classical pieces amid other works reflecting a cartoonish or hip-hop aesthetic notably closer to street culture. In the former category, Leah Labat's Reminisce, above, is a line print of the artist's hands drawing a fantastical Victorian home replete with butterflies and filigree, an effect rather like a Creole M. C. Escher transforming a house into an optical illusion. A rhapsodic abstract figure painting by Courtney Davis, above left, looks oddly psychedelic, like something Yves Klein might have concocted in a voodoo trance, but Shonn Milton's no less rhapsodic Confusion painting, top, suggests a lost school of jazz fauvism. Christopher "CZA" Bunch's acrylic portrait, Bricklip, left, makes up in streetwise punch what it lacks in finesse, even as some slicker if still caricaturish works by Terronn Firven take their cues from pop culture unfiltered by the self conscious "irony" that clogs the arteries of institutional postmodernism. The Heir Show offers a rare look into the personal visions of two groups of young artists who march to their own beat with little obvious regard for the "official" art world at large. ~D. Eric Bookhardt
Good Children Gallery, 4037 St. Claude Ave., 616-7427
Vaguely Related: More on dense New York Times art critic Ken Johnson's race and gender (and region!) controversies here and here and here.