The artworks on exhibit at Baylor University’s Martin Museum of Art suggest — literally — that art sometimes is more than the sum of its parts.

The some 20,000 clay spheres that Steve Hilton has arranged in piles and linear curls on the Gallery I floor. Laurie Weller’s 56-square grid of geometrically flavored lines, shapes and patches of acrylic color. Nearly 200 translucent plastic fabric panels of Leisa Rich’s “Play With Me. . . No, Really, PLAY WITH ME” that, true to its title, encourages viewers to rearrange and layer, conceivably resulting in a new artwork with each set of museum visitors.

Those three pieces join three others by Brooke White, Esteban Delgado and Greg Reuter in the exhibit “mul•ti•plic•i•ty,” which opens this week and continues through Sept. 25 with an opening reception and gallery talk from 5:30 to 7 p.m. Thursday.

The show comprises six regional artists who interpret the exhibit’s title “multiplicity,” formally defined as “the quality or state of being multiple or various” or “the number of components in a system.” Math also comes to mind as pieces seem to illustrate words like iteration, intervals, translation and interpolation.

The six works fill the museum’s Gallery I, and it’s hard to overlook Hilton’s floor installation “Black and White #28” and its connected piles of black and white clay marbles set near the gallery’s entrance. The prospect of thousands of clay spheres on a portion of the museum floor, where inattentive visitors could accidentally kick and scatter them, raised staff members’ eyebrows, but director Allison Syltie said Hilton, who came to the Martin to install his work, was “adamant” about not cordoning it off with a border or barrier.

While works by Hilton, Rich and Weller explore multiplicity through scores, even thousands, of individual parts, others rely on simplicity. White’s “Points East, 5:15-5:50” capture the final minutes of a fading sunset in five large photographs. Reuter’s resin castings “Collected” suggests objects found on the beach while Delgado assembles four graphic forms from black tangram shapes on a light blue background in “Tangrams I-IV.”

Four of the artists in “mul•ti•plic•i•ty” — Weller, Rich, Reuter and Delgado — will be at Thursday’s opening reception to talk about their work.

The Martin Museum’s Gallery II also has new work to show as the summer’s popular exhibition of work from the museum’s permanent collection has been freshened and retooled for the fall, with selections aimed at the different disciplines within the art department, said education coordinator Jennifer Spry.

One of the museum’s newest acquisitions, a print of Ansel Adams’ photograph “The White Church, Hornitos, California, 1948,” goes on display for the first time

A newly reframed print by the 17th century artist Aegidius Sadeler the Younger joins others from such famed printmakers as Albrecht Durer, Rembrandt van Rijn and Francisco Goya in a grouping that not only shows a range of styles, but provides a short history of printing techniques from etching and lithography to mezzotints.


When, where: Through Sept. 25 at Martin Museum of Art, Baylor University’s Hooper-Schaefer Fine Arts Center. Hours: 10 a.m.-6 p.m. Tuesdays-Fridays, 10 a.m.-4 p.m. Saturdays, 1-4 p.m. Sundays. Opening reception and gallery talk, 5:30-7 p.m. Thursday.

Admission: Free.