For evidence that great things can come in small packages, check out "Pleasure From Their Presence: Chinese Bird and Flower Paintings," a micro-exhibition in a tiny side gallery at the Norton Museum of Art in West Palm Beach. It includes only seven works, all culled from a University of Michigan Museum of Art show: fans, hanging scrolls, and album leaves with self-descriptive titles, presented with as much care and attention to detail as any larger exhibition (the space is painted a somehow-perfect brilliant red). The earliest item is The Peach Blossom Spring, a 1542 fan mounted as an album leaf; as the wall text notes, the painting is by Qiu Ying, with calligraphy by Wen Zhengming, both from the Ming Dynasty (1368-1644). A Ming piece from just 70 years later, Chen Zun's Cat Under Flowers, is a dramatically different image of a ghostly cat nestled among rocks, flowers, and grasses, all portrayed in swift, broad strokes that are more suggestive than illustrative. From the 18th Century, Li Shan's Day Lily and Bulb is an album leaf mounted on a hanging scroll, a starkly beautiful small rectangle that seems to float on its pale-blue silk backdrop. Perhaps most exotic of all is Bird on a Bamboo Branch, a fan painting with imagery on one side and calligraphy on the reverse. It's attributed to Lang Shining, the name adopted by Giuseppe Castiglione, an 18th-century Italian Jesuit who was assigned to China and became court painter to three generations of Manchu emperors. There's a novel's worth of intrigue in that one tidbit of information. (Ongoing at the Norton Museum of Art, 1401 S. Olive Ave., West Palm Beach, 561-832-5196.) -- Michael Mills

Now on Display

As the title indicates, "Georgia O'Keeffe: Circling Around Abstraction," now at the Norton Museum of Art in West Palm Beach, is a tightly focused look at a very specific component of its subject's output — her highly varied use of more or less circular forms in more or less abstract works. That may sound like a gimmicky premise, but curator Jonathan Stuhlman, formerly of the Norton, has put together a small but disproportionately thrilling exhibition that provides new revelations about one of America's most important 20th-century artists. It's an abbreviated retrospective, really, with apt examples from all major phases of O'Keeffe's long, prolific career. The work flows both chronologically and thematically, with text panels that illuminate the artist as well as her connections to (and contrasts with) other artists. There are nearly 50 pieces, mostly oils, supplemented by watercolors, charcoals, pastels, graphite drawings, and a pair of white-lacquered bronze sculptures. The subjects run the full O'Keeffe gamut: flowers, leaves, rocks, pieces of fruit, bones, landscapes both urban and rural, and other items that defy classification. And amazingly, the artist was no less daring at the start of her long haul — she was born in 1887 and died a year short of her centennial — than she was near the end. It's an exhibition full of high points. (Through May 6 at the Norton Museum of Art, 1401 S. Olive Ave., West Palm Beach, 561-832-5196.)

You might think you've stumbled into a taxidermy exhibit of stuffed birds, they look so damned real. Many are flocked together, but "The Brilliance of Birds: The Sculpture of Grainger McKoy" isn't birds of a feather. Nope, despite the realistic appearances, these fine "feathered" friends are just painted wood and metal. Some, like Carolina parakeets, allow us to appreciate the beauty of a now-extinct species. Others allow us to consider mortality in another way — as you enter the exhibit, a tiny bronze "Dead Bird" lies crumpled, legs and beak heavenward. As morbid as it sounds, the South Carolina artist celebrates life — in all its moments and stages. Honoring fight and flight, Red-Shouldered Hawks and Copperhead Snake displays the birds of prey both clasping their ill-fated squiggling supper as they rise above dry grass. McKoy's sculptures are also about a connection other than the food chain. Many of the sculptures are flocks, and the individual birds are subtly linked to hold them aloft as they rise from their sculptural bases. McKoy's art transcends the literal. Recovery Stroke, a commissioned work by Hollings Cancer Center, is a giant wing depicted in its weakest — and most beautiful — position. The same poetic approach is evident in his reflection pieces, where birds perch or fly above a body of water. In each of these, the doppelgänger is an impressionistic version of the original. Black Skimmer, for instance, offers an exquisitely detailed orange-billed bird with its beak open, and where the lower mandible grazes the water's surface, the bird is joined to its reflection in polished hardwood. The reflected figure is larger, less detailed, and more fluid. (Through April 14 at Society of the Four Arts, 2 Four Arts Plaza, Palm Beach. Call 561- 655-7226.)

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