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OAS AMA/Art Museum of the Americas Collection

A previous version of this article incorrectly said the exhibition "Art After Duchamp" closes May 20. It closes May 16. The article has been corrected.

Made over nearly 100 years in a realm stretching from Canada to Argentina, the works in the Art Museum of the Americas’ current show demonstrate no overarching style or unified theme. What links the 50 contributors are their Italian roots. “Across the Great Atlantic: Art of the Italian Diaspora in the Americas of the 20th Century” reflects the legacy of a migration surge from Italy to many nations besides the United States.

Style is where The Washington Post covers happenings on the front lines of culture and what it all means, including the arts, media, social trends, politics and yes, fashion, all told with personality and deep reporting. For more Style stories, <a href="https://www.washingtonpost.com/style/" target=_blank>click here</a>.

The selection, drawn from the permanent collections of the museum and the Inter-American Development Bank, begins with art from the first half of the last century. But the bulk of the pieces are more recent, and many reflect a post-1960 trend toward hard-edge abstraction. Ary Brizzi’s nested near-squares and interlocking lines, rendered in shades of gold and copper, appear to oscillate. There’s a similar sense of motion to Diego Masi’s pictures of rippling circles and columns covered with black-and-white dots and stripes. Equally streamlined and vigorous are Felipe Secco’s two-toned silk-screens of abstracted nature forms, while cleanly machined lines intriguingly frame a jagged void in Hermann Guggiari’s aluminum sculpture.

The representational artworks are more diverse in style and outlook. Two large lithographs of photorealist drawings of a gyrating man and woman are by New Yorker Robert Longo, the best-known in the United States of the show’s artists. Much less naturalistic is Alberto Gironella’s ironically titled surrealist painting “The Glutton,” in which a skeleton sits at a dining table. Among the stark photographs are María Cecilia Piazza’s study of a nude older woman and Ernesto Bazan’s depiction of animal slaughter in a shabby Cuban courtyard.

Bazan is one of just a few of the show’s artists who were born in Italy, and his fierce pictures may reflect the struggle to establish himself in Cuba, from which he ultimately was exiled. If most of the art in “Across the Great Atlantic” could have been made on the eastern side of that ocean, Bazan’s photos reveal the tension between a European sensibility and an unruly new world.

Across the Great Atlantic: Art of the Italian Diaspora in the Americas of the 20th Century Through June 5 at the Art Museum of the Americas, Organization of American States, 201 18th St. NW. <a href="http://museum.oas.org/" target=_blank>museum.oas.org</a>. 202-370-0147.

William Atkins/GW Today

After the provocations of French conceptual artist Marcel Duchamp, seemingly anything was possible. But that’s not the meaning of “after” in “Art After Duchamp,” a show of works by members of the Washington Sculptors Group at George Washington University’s Gallery 102. Most of the pieces chosen by Lisa Lipinski, who taught a graduate course on the artist at the school this spring, are modeled specifically on aspects of Duchamp’s work or life.

The 15 contributors barely pursue the broader implications of Duchamp’s rejection of art made for the eye rather than the mind. Instead, they riff on such things as the artist’s love of chess, silhouetted profile, selection of manufactured objects as “ready-made” sculptures and his once-scandalous 1912 Futurist-influenced painting, “Nude Descending a Staircase.” Thus Roger Cutler’s “Duchamp Descending a Stair” places a bicycle wheel (echoing one of the artist’s ready-mades) on a set of black steps, and Eugene Provenzo places talismans of Duchamp’s career in an old trombone case that recalls the valise in which the Frenchman placed a miniaturized retrospective of his own artistic output.

Several of the show’s entries suggest, perhaps unintentionally, that Duchamp’s work is antiquated. While electronics-savvy artist Chris Combs presents a digital “Campfire” that glows red when touched, other participants offer sculptures assembled from scrap metal, often rusted. At the center of Donna Cameron’s installation is a found-image video collage, but the piece also includes an old 16mm film projector the artist found on the street. The machine-made 20th-century objects that Duchamp reimagined as sculpture now appear quaint or obsolete. But that doesn’t mean his ideas are outmoded.

Art After Duchamp Through May 16 at Gallery 102, Smith Hall, George Washington University, 801 22nd St. NW. <a href="http://corcoran.gwu.edu/gallery-102" target=_blank>corcoran.gwu.edu/gallery-102</a>. 202-994-1700.

Hiromitsu Kuroo/Morton Fine Art

Growing up in Japan, Hiromitsu Kuroo lived near factories where scarves were dyed. That memory shaped the collage-paintings in “Hope Brew,” his Morton Fine Art show. But Kuroo was also influenced by origami, weathered Native American murals he saw during a trip through the American West, and the minimalism and abstract expressionism of New York City, where he lived for almost two decades before returning to greater Tokyo in 2021.

Initially prompted by a shortage of materials during the pandemic lockdown, the artist’s recent work employs mostly linen and bleach, with some bright acrylic pigments to highlight the neutral-toned cloth. The whitened fabric is often cut into squares or strips, which are arranged in patterns that evoke various forms of weaving. The more colorful pieces include such motifs as red bars or green ovals, painted tidily but then partly obliterated by more bleach.

While Kuroo’s technique is singular, the way he creates “beauty out of limited expression is a characteristic of Japanese culture,” his statement notes. Some pictures resemble panels of elegant but well-worn fabric, suggesting remnants of ancient kimonos. Yet there are subtly flamboyant touches in such pieces as “Bleach Painting H,” whose blanched white squares have hot-pink undersides. Hints of Tokyo’s neon glimmer beneath Kuroo’s homage to vintage Japanese fabrics.

Hiromitsu Kuroo: Hope Brew Through May 18 at Morton Fine Art, 52 O St. NW, #302. <a href="http://mortonfineart.com/" target=_blank>mortonfineart.com</a>. 202-628-2787.

Camille DeSanto

The subjects of Steve Dore’s cartoonish paintings — mostly people or footwear — are rendered flatly, but the pictures are often placed in 3D settings. The artist’s Transformer show, “A Good Recluse Is Hard to Find,” includes cutout figures supported by stands and arrays of “floating heads” that peer through ovals cut into sheets of colored paper that overlay the images.

A former Washingtonian who now lives in London, Dore is a drummer who came to graphics by making fliers and record covers for indie-rock bands. (He’s a member of an intermittently active trio, the D.C.-rooted Casual Dots.) This is his first solo exhibition.

The artist is influenced by Philip Guston, who often painted piles of shoes. This show includes a painting of a lone saddle shoe, but more common are fields of socks, bobbing in space like those disconnected heads. Dore is also partial to stripes, circles and black-and-white squares; he clothes one man in a “Crossword Pajama.” Dore’s style is loose and freehand, but underpinned by a sense that the world can be distilled to orderly patterns.

Steve Dore: A Good Recluse Is Hard to Find Through May 18 at Transformer, 1404 P St. NW. <a href="http://transformerdc.org/" target=_blank>transformerdc.org</a>. 202-483-1102.

Mark Jenkins

Where to see art gallery shows in the D.C. region

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