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How Pocock Fine Art & Antiques escaped Artbeat's notice for so long is a mystery. Maybe it's because this lovely gallery, which is nearing its 24th anniversary, just reopened in its third location on Las Olas Boulevard, in the new Himmarshee Landing complex. More likely, it's because the fine-art component of the operation -- oil paintings, mostly -- can get swallowed up among the abundant antiques. Not that the art is just window dressing. Far from it. Pocock, named for mother-and-son owners Pauline and Stuart Pocock, not only maintains an inventory of roughly 150 works by more than three dozen artists but also keeps a healthy percentage of it on display. There are paintings tucked into almost every available space. According to Stuart, the gallery specializes in early- to mid-20th-century American impressionism, that often-overlooked offspring of the better-known French version, although that's something of a generalization. There's indeed a wealth of work by New England-based impressionist Emile Gruppé (1896-1978), including some fine examples of landscapes and the harbor scenes from Gloucester, Massachusetts, for which he's known. But there are also outstanding pieces by Danish painter Knud Edsberg, justly acclaimed for his bucolic images of farm life; fellow but lesser-known Dane Lauritz Holst Srensen, who excels at serene marine scenes; and Danish-born American Johann Berthelsen (1883-1969), whose specialty was wonderfully atmospheric, snowy New York cityscapes. Stuart can come across as overly absorbed in the intricacies of the market -- he's like an art-world equivalent of a stockbroker. He seems unduly impressed, for example, by the market value of a pricey portrait by William McGregor Paxton (1869-1941) and its even pricier hand-carved frame by Wilfred Thulin. But he's also highly knowledgeable and willing to share his knowledge and enthusiasm. In an especially nice touch, each painting comes with a custom-assembled portfolio of sorts, with information on the artist and his or her work and, of course, documentation to support the gallery's asking price. (Pocock Fine Art & Antiques is at Himmarshee Landing, 1200 E. Las Olas Blvd., Fort Lauderdale, 954-525-3400.) Now on Display

At the north end of NE Second Street in Delray Beach, in the part of Pineapple Grove that has barely been touched by the area's cultural makeover, waits the Women in the Visual Arts Gallery. The gallery showcases art that breeds excitement both from the quality of the work and the thrill of discovering the unexpected -- a professional gallery existing in what amounts to a strip mall. As with most juried shows, "Found Objects," judged by several of the collective's 400-plus members, contains some real jewels and some near-misses. The misses are easy to skip. Most of the weaker pieces took the show's theme to its most literal interpretation, collecting extra stuff lying around to create pleasant but obvious and somewhat frivolous pieces. One exception is Norma Malerich's amazing Beaded Treasures, an amalgam of leftover bits from a sewing table. Its beauty is compelling to anybody who has ever parlayed the beauty of scraps at the bottom of a junk drawer into art. Malerich, who works in fabrics, also has several embellished fabric purses on display. A less literal and impressive piece is Sharon Kurlycheck's tribute to Mexican artist Frida Kahlo, a diorama called Yo Pinto Mi Realidad. Part shrine, part collage, the little box that sits in the corner of the studio snags the eye as soon as you walk in the door. Also worth a good, long look is Lola Lichman's Prison of Love, a mixed-media feast for the imagination, hinting at the darkness of fairy tales we try to ignore. If you hate collage, there's sculpture, jewelry, painting, and photography to peruse. (Through March 21 at the Women in the Visual Arts Gallery, 330 NE Second Ave., Delray Beach, 561-276-5579,

For out-of-the-way art, you still have a few days to check out "Dimensions & Discoveries: The Artwork of Elizabeth Chapman and Sid Walesh," now at the Sunrise Civic Center Gallery in the far-west reaches of Broward. Walesh is clearly a talented sculptor whose work here is wildly erratic, although at its best, it enhances the mixed-media paintings by Chapman, whose earthy, elemental abstracts are glorious studies in color, texture, and form. She errs when she succumbs to the pull of the representational, but she has a knack for striking an enormously appealing balance between gestural spontaneity and careful deliberation. (Through March 19 at Sunrise Civic Center Gallery, 10610 W. Oakland Park Blvd., Sunrise, 954-747-4641.)

"Todd Goldman: Stupid Factory," now at Jack Gallery in the new Seminole Paradise complex, features lithographs and paintings by the young artist, who has struck gold with a childlike style that combines cartoonish characters with such smart-alecky verbiage as BOYS ARE STUPID THROW ROCKS AT THEM and SMOKING KILLS... BUT AT LEAST YOU LOOK COOL. Goldman's improbably swift rise to fame and fortune started with a line of merchandise sold via a website; now he re-creates his commercial designs on canvases that sell for thousands and finds himself being likened to Roy Lichtenstein, Andy Warhol, Keith Haring, and Kenny Scharf. Fortunately, he's disarmingly self-effacing about it all, and most of his output is irresistibly funny. (Through March 28 at Jack Gallery, Seminole Paradise at the Seminole Hard Rock Hotel & Casino, 5919 Seminole Way, Fort Lauderdale, 954-792-4949.)

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Michael Mills

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