Aisle Gallery in the West End hosts an exhibition featuring work by Carmel Buckley and Joel Fisher. Buckley's new drawings extract fragments from early-20th-century fairytale illustrator Harry Clarke, while Fisher has been developing a body of work called the "Apographs" in which subtle drawing interacts with sheets of paper the artist has made. Through Aug. 20.  

With more than 25 artists, Country Club's current exhibition serves as a massive visual "think tank" that questions the relevance of traditional art methods (the painstaking use of physical materials and handmade objects) in a world where life increasingly is experienced through mass-produced items and virtual communications. 'Pictures and Statues' continues through July 31.  

Pictures and Statues offers an inelegant approach to the examination of the role of objects in post-digital culture. Rather than resting on theory, this project will build an idiosyncratic point / counter-point discussion through the images and objects on display. Among the questions posed: Can the mere act of framing an exhibition under this rubric yield a meaningful conversation about “things?"  

The Cincinnati Art Museum’s print collection is local legend, and a summer exhibition gives us a glimpse of artists working near and far towards wildly diverse results in the printmaking process. Coast to Coast American Prints 1960-2010 includes fine examples of internationally established artists, such as Ed Ruscha’s sleekly elegant car-themed pieces, or the electric blue fount suggested in Claes Oldenburg’s print, hung beside a Christo piece that sketches out future installation pieces.  

This summer’s been so depleting that I’ve been endlessly thrilled with the uniqueness of Thunder-Sky Inc.’s new show. World Domination: New Works by Tony Dotson and Antonio Adams flashes our lives before our eyes through an exotic cast of historic figures, celebrities and public personalities.  

As part of the current rotation of exhibitions at the Carnegie Visual and Performing Arts Center collectively titled 'Impressions,' Christian Schmit has extended an in-progress look at his studio practice into one of the upstairs galleries.  

Known for her poured "waterfall" paintings, Pat Steir’s work showcases the interplay of the paint, her pouring technique and gravity. In Water and Stone, she treats the CAC gallery space as if it were a canvas, painting the surfaces and creating one of her signature waterfalls directly on a 24-foot-tall wall at the end of the gallery. Through Aug. 22.  

In her new installation-sized project done especially for the Contemporary Arts Center, artist Pat Steir attempts to unify her splashy, drippy vocabulary of painting techniques with the cool, detached personality of Zaha Hadid's architecture. Steir manages to expand the basic language of the building, but one doesn't feel directed through the entire experience. I watched a number of viewers make it only halfway down the space before stopping, as if unmoored and lost at sea.  

Aisle Gallery's space is divided up right now for two solo projects, "Small World," by Kate Kern and "Rounds" by Jim Wainscott. Their shows continue through July 2, with an artist talk at 1 p.m. June 26.  

In Bruce Riley's new exhibition of paintings at Miller Gallery, layers of watermedia and resin compress whole worlds into deep, churning events. Drips, pours, sprays and stains of pigment and medium coalesce into utterly organic forms as if blown in from a freak storm or plucked from Riley's garden just outside his studio window in Chicago. Runs through June 25.