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As an apotheosis of menace, few images are added abrupt than a burglarize or a bullet. Unless it’s a blood-soaked gunst wound, rendered alert in “Artists Adjoin GunViolence ,” a aculation appearance army to accentuate the bulletin of the March for Our Lives. Janis Goodman contributed a active close-up cartoon of a bullet’s adverse effect. Patricia Autenrieth abstruse a batt with a beneath absolute but appropriately arresting dabble of red cloth. Best of the works are displayed at the Third Floor; others are at Upshur Artery Books or the Reading Room at Petworth Citizen.

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The items, fabricated by about 50 bounded artists, can be as appropriate as Ruth Trevarrow’s set of 17 plates, anniversary busy with an abandoned board or armchair to admire tse collapsed at Marjory Stoneman Douglas High Scol. But they additionally accommodate Judy Jashinsky’s painting of the weapon acclimated to annihilate John F. Kennedy, a actual antique with absolutely abreast implications.

After the annihilation at Sandy Hook Elementary, Charles Krause/Reporting Fine Art organized an exhibition on the aforementioned affair as this one. The two sws comedy abounding of the aforementioned notes, altugh the Petworth arrangement has beneath absolutely political works. It does accommodate Ellen Hill’s baby casket covered in miniature $50 bills and Cheryl Edward’s target, fatigued with ammo ss on a corrective American flag. Cory Oberndorfer makes a barbarous affiliation amid the shapes of two actual altered objects, wrapping a Teddy buck in a bandoleer outfitted with crayons rather than bullets.

Amid eloquently apparent pieces such as Carolina Mayorga’s book of three bullets, the best busy access is bottle artisan Tim Tate’s 3-D aggregation of concentric circles of guns, flowers and mac s. It’s a arctic ball of beauty, peril and vulnerability, in which every clear-cut amount represents 1,000 bodies dead by accoutrements aftermost year.

Artists Adjoin GunViolence Through April 9 at the Third Floor, 4200 Ninth St. NW; the Reading Room at Petworth Citizen, 829 Upshur St. NW; and Upshur Artery Books, 827 Upshur St. NW. facebook.com/events/182598122365562.

Michael A. McCoy

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Local columnist Michael A. McCoy sots mostly portraits, but not of bodies you’d accurately recognize. His black-and-white vignettes ysis a advanced swath of abreast African American life, encapsulated in faces that generally accord to children. The moments captured in his Ptoworks sw, “My Camera, My Voice,” are accurate yet emblematic.

A disabled Iraq War veteran, McCoy calls himself a storyteller. Yet he’s not fatigued to affecting scenarios; the accomplished affect apparent actuality is the alarm of a little boy in a barber’s chair, comforted by an beforehand adolescent w is allegedly his brother.

McCoy specializes in actomed declarations of ideny. There are a lot of stars and stripes in his pictures, as able-bodied as a T-shirt emblazoned with a clenched fist. A the best arresting ptos is a delineation of three adolescent women on a Metro train, one of them allegedly selfie-ing. The pto she’s making, like McCoy’s of her, conveys a cursory burning and a around-the-clock appee for self-expression.

Michael A. McCoy: My Camera, My Voice Through April 8 at Ptoworks, Glen Ec Park, 7300 MacArthur Blvd., Glen Ec. 301-634-2274. glenecptoworks.org.

Nate Lewis

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The ptographs of African American bodies active by Nate Lewis aren’t absolutely bare slates. The bounded artisan leaves some actual capacity — eyes, fingers, s — in the pictures he transforms for “Hidden Tensions,” at Morton Fine Art. But Lewis complements the complete $.25 of beef with intricate markings, cut into the black-and-white pictures and or added with white ink. The symbols advance bolt motifs and ritual anatomy paint, but the artisan calls them “unseen tensions of the past, present and future.”

The patterns are both additions and deletions, as emphasized by one of the sw’s best contempo pieces. In “Palpable Memories II,” a apparitional amount is carved into a D.C. artery attempt from 2016’s Inauguration Day. Area the single-figure pictures are accent by white backdrops, this arena is awash with bodies from beyond the political spectrum. And thus, of course, not-so-hidden tensions.

Hidden Tensions: Nate Lewis Through April 11 at Morton Fine Art, 1781 Florida Ave. NW. 202-628-2787. mortonfineart.com.

EJ Montgomery

When EJ Montgomery printed “Marks” in 2007, she may not accept anion of it as the congenial accompanying of “Highland Flowers,” fabricated nine years earlier. Hanging ancillary by ancillary in “Letters to Mom,” wever, the two arise carefully related. Yet they, like abounding added pictures in this appearance at the District of Columbia Arts Center, additionally authenticate the array the 84-year-old artisan achieves by cautiously tweaking blush schemes. Tidily abiding in unified compositions that can advance bolt design, agnate freehand gestures can arm-twist absolutely altered things.

The abstract, if generally nature-derived, artworks accommodate one painting and several agenda prints. The best handsome pieces are the aftereffect of such acceptable techniques as intaglio, litgraphy and awning printing, sometimes active in tandem. There additionally are glimmers of Montgomery’s beforehand ignment with metal in ured prints such as “Fire Opal,” in which red and blooming squiggles bonfire at the centermost of a cool-gray setting. The book is one of abounding in which Montgomery cautiously balances the advised and the instinctual.

Letters to Mom: Prints by EJ Montgomery Through April 8 at the District of Columbia Arts Center, 2438 18th St. NW. 202-462-7833. dcartscenter.org.

Nico Fertakis

Two clear-cut circles, one chicken and the added ablaze green, adhere in the distinct affectation window that is Metro Micro Gallery, acquiescent a attenuated hue area they overlap. The little sw, “Halo-Halo,” ability be a ambagious aberration on Joseph Albers’s aboveboard blush studies. But the appellation absolutely agency “mix-mix” in Tagalog and refers to a ambrosia served in the Philippines, one of the Filipino-Greek-American artist’s several melands.

Fertakis additionally is uming prints of overlaid single-color circles, which she likens to Venn diagrams of indigenous mixtures. Anniversary is emblazoned with a food-related argot in which a accepted Filipino comestible replaces the Euro-American one, such as “have your halo-halo and eat it, too.” These are intriguing, but not displayed to the best aftereffect in this e. Metro Micro is optimal for art that engages the ambient light, as the beyond allotment does. Catching the sun, the two circles of authentic aglow blush advance addition acceptation for “halo.”

Nico Fertakis: Halo-Halo Through April 7 at Metro Micro Gallery, 3409 Wilson Blvd. (Kansas Artery side), Arlington. metromicrogallery.com.

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