Exhibitions of work by and about women take center stage this week, and on some calendars, this month, since some people celebrate it as a specific measurement of time devoted to women's history.

I do not - every month should do that, shouldn't it? - but it seemed as if these three shows somehow reflected the current art scene here, for good, and perhaps not, when it came to the arena of women and art.

Beauty is as beauty does

Sarah Gjertson, an artist andinstructor at the University of Denver, has chronicled the culture of the beauty parlor long enough to be able to allude to that world in part of the VictoriaH. Myhren Gallery at the University of Denver.

"Parlor Project" is an affecting look at the tangible and personal nature of the neighborhood salons that cater to women who gettheir hair done every week. This includes the women for whom this is atime of community and friendship, as well as the stuff that fills these places (or filled: Gjertson, who has taught about expanding the boundaries of traditional art, included at the entry an electricpermmachine that looks like something out of the Inquisition, not the1930s).

Though small, "Parlor Project" uses photographs, a few sculptural pieces, and a video of beauticians and customers talking about their bond to produce an exhibition that is wise and funny. It also hits home for anyone who has found it easier to cry on the shoulder of her hairdresser than her best friend.

Parlor Project

• What: Photo-based project on the culture of small neighborhood beauty parlors, by Sarah Gjertson

• What: Where and when: Victoria H. Myhren Gallery, Shwayder Art Building, 2121 E. Asbury Ave., University of Denver; through March 18

• What: Information: 303-871-2846; du.edu/art/galleries

The sacred and the secular

The title "Altar Girls" is a fabulous way to provoke thinking about work that ranges from historic and contemporary santos, to vague crayon sketches of young women and a video of a young woman shaking her head so her hair flies free.

There's a problem here: The santos sit on one side of the gallery, and don't get me wrong, they are beautiful, ranging from new works by santeros and santeras in the region, to fine pieces from area collectors.

But as you are viewing the somewhat ethereal offerings of contemporary work on the other side, most of it by female artists from around the Americas, many making their debut in this region, there is a disconnect that no amount of label verbiage can bridge. Especially when you are being asked to relate the look on the faces of young women in various works to the saints many feet away.

There are two solutions: Either walk back and forth across the Museo's recently revealed wooden floor, to check contemporary work against the correct santo, or just forget the idea of trying to make this comparison.

I have a sense that this exhibition began as a way for the Museo to show off its new acquisition, the gift of 25 santos from the Rickenbaugh family. These range in date from the 13th to the 20th centuries, and from Europe to the American Southwest; unfortunately, they are not labeled with specifics.

But then perhaps the concept grew, and director/curator Patty Ortiz added santos from Regis University's noted collection, augmented by works from private collections. And then, to make the case that women today still carry the burden of discrimination and domestic chores, while demonstrating their strength and fortitude, work was added that dwells on growing up but that seems, literally and metaphorically, all over the map.

These range from abstracted photographs by Christine Kahlo of Mexico of young women putting on makeup, to manipulated images by Flavia De Rin of Argentina that make her subjects look like bug-eyed waifs, to a completely unexpected view of Little Red Riding Hood and the Wolf in a diptych made of Plasticine nubs by Grupo Mondongo of Argentina.

Altar Girls

• What: Santos and contemporary views of girls growing up

• Where and when: Museo de las Americas, 861 Santa Fe Drive; through June 10

• Of note: Programming in conjunction with the exhibition includes "Santos Pachanga: Festival and Marketplace," from 10 a.m. to 4 p.m. March 31, with a keynote lecture at 7 p.m. March 30 by Cathy Wright, director of the Albuquerque Museum of Art andHistory and former curator/director of the Taylor Museum of the Colorado Springs Fine Arts Center; free days Saturday,and April 7, May 5 and June 2; Spanish Happy Hours the third Friday of each month, and films from the Xicanindie Film Festival 7:30 p.m.April 19

• Information: 303-571-4401; museo.org

Heaven and the refrigerator

Finally, the Women's Caucus for Art, Colorado Chapter, has organized "Kitchen Goddess," at the Lakewood Cultural Center. This juried exhibition occasionally rises to sophistication (a digital silhouette of a woman as expressed by a stack of plates),but is reallyall about using traditional craft mediums and, perhaps,some plain old gumption.

I do not envy juror Gabriella Cavallero, artistic director of the Modern Muse Theatre Company, the job of trying to make sense of some of this work. But let's say that it includes photo transfers on pot lids, an entire "kitchen" covered in fabric (with fur-linedbowls, for art historians out there), and a lineup of three meals in which the food stuffs are crocheted.And that includes shrimp.

Kitchen Goddess

• What: Juried exhibition of work by the Women's Caucus for Art, Colorado Chapter

• Where and when: Lakewood Cultural Center, north and mezzanine galleries, 470 S. Allison Parkway; through March 23

• Information: 303-987-7876; lakewood.org

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