In this year, the art world was truly knocked off its feet by the remarkable trippy and exacting realism. Two of the most beloved shows in this vein took place at Minnesota Street Project's smallest gallery, Bass & Reiner. In April, Imrich's graphite on paper work, along with an optical illusion-inspired sculpture, presented a precise and silvery display of textures and patterns, punctuated by cast tin shapes. This was a strange combination of materials that I haven't seen before or since. Five months later, Corbitt's "Waters of March" opened in the same space, a very different show featuring large oil paintings of reflective estate sale objects, metal grates, and hunks of deli meat. But both shows shared the same boggling attention to detail and the ability to render familiar objects in off-kilter, world-altering ways.

The Best Non-Photos in a Photo Show

After a 15-year run, Pier 24, the presentation arm of the Pilara Family Foundation's photography collection, is set to close its doors at the end of January 2025. The final show, "Turning the Page", focuses on photo books and expands beyond the Pilara holdings. Artists' monographs take center stage in the galleries, and images are exploded out from the pages. Installations of Jim Goldberg's "Raised by Wolves", Cindy Sherman's "Untitled Film Stills", and Masahisa Fukase's "Karasu" are included. The show also features Pier 24's first true display of sculpture, a stunning grid of Black's painted paper replicas of photo books. A new publication, "Photo Book Photo List", includes even more of her pieces. 1: This show is a testament to the diverse range of art forms that can be explored within the realm of photography. It showcases how photo books can be elevated to an art form in themselves, with each piece telling a unique story. 2: The inclusion of these renowned artists' works adds to the significance of the show. It allows viewers to see how different artists interpret and present photography in their own unique ways.

The Best Interpretation of an Interpretation of a Waffle

In two galleries at Et al., Theadora Walsh organized a solo show of painting, prints, and sculptures by the enigmatic San Francisco artist Gay Outlaw. While the materials vary from piece to piece, from a rough wedge of wood to smoothly fused glass and hand-printed linocuts, all her work is united by a pristine attention to craft. Even the pedestals supporting the art were impeccably crisp. Touring "Inner Sousaphone" felt like being in good hands, with objects arranged just so. Untitled (Saw Box), a glass and wood sculpture that seemed to project out its own shadows, was perfectly graced by a skylight on one of the visits. 1: Gay Outlaw's work stands out for its meticulous craftsmanship and the way each piece is carefully curated. It shows the artist's ability to bring out the beauty in even the most ordinary materials. 2: The attention to detail in every aspect of the show, from the sculptures to the pedestals, creates a truly immersive experience for the viewer.

The Most Enjoyable Trompe l'Oeil

In Catharine Clark's newly expanded space, two solo exhibitions by Imin Yeh and Michael Hall were a delight. Yeh's expansive show included delicate paper sculptures of objects in odd and delightful combinations, such as studio snacks and rubber bands, a slice of Swiss cheese and birthday candles, all hanging from paper screws. Hall's "For Real Life" was a collection of stunning trompe l'oeil paintings of books, albums, and everyday objects, interspersed with ecstatic, abstract washes of color, googly eyes, and a Holbein-esque distorted cat. 1: These two exhibitions showcase the incredible talent of the artists in creating realistic illusions that deceive the eye and engage the viewer on a different level. 2: The combination of different materials and techniques in both shows creates a visually stunning and immersive experience that is truly enjoyable.

A Very Good Reason to Visit the CJM Before Dec. 15

Leah Rosenberg's installation at the Contemporary Jewish Museum is the first artwork specifically conceived for the museum's tricky Yud Gallery. Designed by Daniel Libeskind, the space with its high ceilings and angled walls and 36 rhomboid-shaped windows presents a perpetual challenge to curators. Color is Rosenberg's primary medium, and she has filled the vaulted space with it. The windows now channel in pink, yellow, and green light. Brightly painted chairs and benches are scattered throughout the room, and a wall of rainbow-hued stripes invites visitors to write personal reflections on the 36 hues. The installation was originally meant to be on view until 2027, but the museum announced it will close for at least one year starting Dec. 15. 1: This installation is a unique and immersive experience that combines color, space, and personal reflection. It is a must-see before the museum closes. 2: Rosenberg's use of color and the interaction between the space and the artwork create a truly memorable experience for visitors.

The Shiniest Conclusion to a Public Art Mess

The triumphant unveiling of the city's first monument to a Black woman, made by local artist Lava Thomas, was a momentous event. Despite the fact that this was one of the most bungled public art commissions in recent memory, the few hours that singers, actors, poets, politicians, and artists gathered to celebrate Thomas' book-shaped ode to Dr. Maya Angelou were exquisite. Now, we have a permanent marker of Thomas' artistry and perseverance, and Angelou's connection to San Francisco history, greeting us outside the library's Larkin Street doors. 1: This public art project is a significant addition to the city's cultural landscape. It represents the talent and perseverance of the artist and pays tribute to an important figure in history. 2: The celebration surrounding the unveiling shows the power of art to bring people together and create a sense of community.

The Best Show in a Shipping Container

It's a challenge to compete with a shipping container, an object with such an iconic shape, size, and corrugated surfaces. But Jim Isermann's colored pencil drawings fit perfectly into the narrow corridor of Escolar, an artist-run project space in a Santa Rosa backyard. "Supporting Roles" included a poem written for a scrolling LED screen by Isermann's partner T.S. Leonard and showcased the artist's densely colorful drawings of structures designed by gay, queer, and otherwise marginalized architects. Various "supports" were visible throughout, such as the geometric shapes that combined into patterns, the notes and sketches that informed future paintings, and the clear plastic frames that held the graph paper up for viewing. Even the container itself was a reminder of the raw materials it might once have held and perhaps went on to support the very structures Isermann now distills into bold geometric patterns. 1: This show in a shipping container is a unique and innovative space that allows the art to shine in a different context. 2: The combination of Isermann's drawings and the elements of the shipping container creates a visually captivating and thought-provoking experience.

My Favorite Art Experience of the Year, Hands Down

The "Corridor of Horror" in the Mission District was my absolute favorite art experience of the year. It was a journey through a dark and mysterious space that left a lasting impression. 1: The atmosphere of the "Corridor of Horror" was intense and immersive. It took the viewer on a journey of emotions and sensations. 2: The unique setting and the art within it made this experience truly unforgettable.