If you drive to Columbus by Dec. 30, you can see a photography show — Annie Leibovitz — that serves as the culmination to the journey through celebrity/fashion photography begun by three FotoFocus-related museum shows here.   

I hope the inaugural FotoFocus, which has formally concluded although related exhibits still are up around town, was successful by the standards of its organizers, and that they are eager to plan for the next one in 2014.  

On Monday, Todd Pavlisko conducted his commissioned artwork — a video piece he’s calling “Docent” — in which a retired military sniper fired a secured high-powered rifle inside the first floor of the Cincinnati Art Museum.  

Laurel Nakadate, a celebrated New York-based photographer/videographer/filmmaker/performance artist, will deliver the FotoFocus Lecture 7 p.m. Oct. 24 at the Cincinnati Art Museum. She will be telling stories and showing slides about her work this century.  

Doug and Mike Starn's photography-related installation Gravity of Light involves a carbon arc lamp with light so brilliant it could cause eye damage if you stared at it unprotected.   

When Sarah Vanderlip — winner of Cincinnati Art Museum’s first Marjorie Schiele Prize — arrives here for the Sept. 29 opening of her show, it will be an Ohio homecoming, a full circle of sorts, for the California artist.  

I first met Matthew Shelton in the bottom of a swimming pool. It was a program in which musicians performed on the floor of the empty Ziegler Pool in Over-the-Rhine. Shelton, with his deep resonant voice and wry, smart songs, made an immediate impression playing guitar in the pool’s deep end. He towered above — or, rather, below — his surroundings.  

The most profound and beautiful art installation of recent years in Cincinnati — an inspiration for what public art here can be — was Shinji Turner-Yamamoto’s 2010 “Hanging Garden.” It continues to have an afterlife.  

An interesting battle about the future of contemporary art — and what should be shown in museums devoted to it — is occurring in Los Angeles right now, where the director of the Museum of Contemporary Art is accused of leaning too heavily on pop culture/celebrity trendiness for his shows.  

If you want to learn about one of the biggest and most unusual public-art projects ever proposed for Cincinnati, see the display related to “The Soap at Baton Rouge” at Carl Solway Gallery’s current Thanks: 50th Anniversary Celebration.