Interdisciplinary artist Parra (featured in Hi-Fructose Vol. 25) will open a solo show at Milan’s Galleria Patricia Armocida titled “Il Senso di Colpa” (or, “The Guilt”) on May 27, presenting new canvases, watercolors, monochromatic drawings and sculptures. Known for his bold, graphic renderings of sensual bodies in a Pop Art-inspired palette of red, blue, black and white, Parra explores the sense of guilt induced by self-criticism and second-guessing in this new body of work. Take a look at some of the works in the show after the jump and check out “Il Senso di Colpa” May 27 through July 26.

Glenn Barr‘s “Rooms” is the inaugural show for the Inner State Gallery, the next step in the evolution of the former 323 East Gallery in Detroit. Jesse Cory and Dan Armand picked up and moved from Detroit’s Royal Oak neighborhood and recreated it as Inner State Gallery in a three story brick building in the heart of The Motor City. Glenn Barr (HF Vol. 10 cover artist) described “Rooms” as an exhibition of scenarios inspired by a lethargic Detroit: “Images of wandering bars and bohemian escapists, electric streets and closing time, space gear and boas, all the while unaffected muses look down from on high,” wrote the artist. The show will features a collection of smaller intimate works and large paintings. Take a look at our photos from the opening on May 17. The show runs through June 16. See more after the jump!

As an artist, Travis Louie is known for his meticulously thought-out vision. He plans his paintings like a cinematographer, setting up a distinct look and feel and backstory that connects his body of work. However, the tables will be turned at Last Rites Gallery‘s upcoming show “Zombie,” a large group show curated by Louie featuring a wide variety of artists — from Steven J. Daily to Brandt Peters to Allison Sommers and more. For the show, Louie will relinquish creative control and invite the artists to interpret the theme of the undead. See the complete line-up and a sneak peek at the art after the jump and check out the show May 25 – June 26.

Though wildlife is their primary subject matter, painter Sage Vaughn (Hi-Fructose Vol. 26) and photographer Michael Muller approach representing nature in radically different ways. Muller’s striking, close-up shots of sharks, lions, wolves and other dangerous predators not only captivate viewers on an aesthetic level, but are also shocking for the photographer’s audacity to apprehend these creatures in their natural environments. Sage Vaughn’s work is perhaps on the other side of the coin of Muller’s raw documentation. Vaughn instead arranges species of birds and butterflies like delicate ornaments, focusing on these animals’ visual qualities rather than their biological ones. The two artists collaborated on a body of work in 2011 and have returned with a new collaborative series of painted photographs titled “Kingdom” currently on view at The Outsiders Newcastle. These collaborations bring out similarities between Vaughn and Muller’s work, making their styles seem more complementary than dualistic. Take a look at some of the works in “Kingdom,” images courtesy of Lazarides, and see the exhibition at The Outsiders through June 15.

Last week, May 16-19, the art fair ArtMRKT made its annual appearance in San Francisco, this time on a grander scale at the Fort Mason Center on the waterfront of the San Francisco Bay. With a slew of international exhibitors present, the fair offered an array of visual bounty. This year’s offerings included sculpture, paintings and new media in a variety of styles, some from familiar faces whose work has been featured on our blog and magazine and others from newly discovered artists. We spotted psychedelic canvases from Mars-1 and Damon Soule, strangely kawaii ceramics by Eric van Straaten, Gabriel Barcia Colombo’s miniature video projections inside jars, Scott Fraser’s surreal take on vanitas still lifes, Joel Phillips’ enormous charcoal portraits and much more. Check out our exclusive photos to see the highlights after the jump.

Eduardo Mata Icaza is sparing in his use of detail. In his paintings, classically rendered nudes float in empty space, as if swimming, flying and throttling through color-saturated abstraction. These anonymous characters become vessels for his viewers’ imaginations as they are invited to fill in these figures’ histories with their own narratives. Delicate bodies explode with color or are hollowed out until only line work remains like a skeleton in these expressive works. Take a look at some of the paintings after the jump, images courtesy of Eduardo Mata Icaza.