1. Suspended over the pool at Aqua Art Miami, Leo Saul Berk’s cloud made of tough plastic parts fell flat. Now I realize it’s like I didn’t even see it. Focused light should be listed on its label as one of its materials, because lit in a gallery, it comes alive. At Howard House (through Saturday), its blues and whites bounce against each other with a sort of lulling, pointillist rhythm. Beautiful.

2. Ellen Garvens’s large, slyly staged photographs of plaster molds for prosthetic limbs present the molds ambiguously, wrapped in gauze, mounted, arranged, or rising from translucent white paper that makes it look like they’re floating in their white backgrounds. Are they ruins being held for safekeeping? Failures in a sculptor’s studio? Through Saturday at Davidson Contemporary. (She’ll also be in the Tacoma Art Museum Biennial.)

3. Mary Henry is 94 this year and has been making and showing geometric abstract paintings since before the United States entered World War II. Her show of paintings at Howard House opens February 1 (reception February 8), but this wall mural is already up.

It reminds me of early Russian graphic art, which gives me an excuse to post one of the great political posters of all time: El Lissitzky’s 1919 Beat the Whites with the Red Wedge. Beat them! Stab them! Good Friday morning!