The Opium Museum is, at the heart

, about the

trade in rare antiques, since

opium smoking paraphernalia was outlawed. Still, there are pages and pages of the history of opium and its use in countries all over the world, with many historical photographs.

Beginning in the 18th century, opium accompanied the Chinese diaspora: first to the Chinese quarters of Asian cities, and later to the Chinatowns of the West, particularly North America, where opium smoking in the Chinese manner and with Chinese-made paraphernalia became fashionable among non-Chinese.

Once the drug was banned and its paraphernalia outlawed, these illicit items were heaped into piles and burned in public bonfires. From Shanghai to Saigon to San Francisco, the means to smoke opium were destroyed along with the drug itself. So few examples of these relics remain that most experts on Chinese art are blithely unaware of just how sumptuous and opulent this art form had become during its heyday.

For serious collectors, there is information on how to identify genuine opium tools and have them appraised.

Abstract art uses a visual language of form, color and line to create a composition which may exist with a degree of independence from visual references in the world. Western art had been, from the Renaissance up to the middle of the 19th century, underpinned by the logic of perspective and an attempt to reproduce an illusion of visible reality. The arts of cultures other than the European had become accessible and showed alternative ways of describing visual experience to the artist. By the end of the 19th century many artists felt a need to create a new kind of art which would encompass the fundamental changes taking place in technology, science and philosophy. The sources from which individual artists drew their theoretical arguments were diverse, and reflected the social and intellectual preoccupations in all areas of Western culture at that time.

Abstract art, nonobjective art, and nonrepresentational art, are loosely related terms. They are of similar, although perhaps not identical meaning.

Abstraction indicates a departure from reality in depiction of imagery in art. This departure from accurate representation can be only slight, or it can be partial, or it can be complete. Abstraction exists along a continuum. Even art that aims for verisimilitude of the highest degree can be said to be abstract, at least theoretically, since perfect representation is likely to be exceedingly elusive. Artwork which takes liberties, altering for instance color and form in ways that are conspicuous, can be said to be partially abstract. Total abstraction bears no trace of any reference to anything recognizable. In geometric abstraction, for instance, one is unlikely to find references to naturalistic entities. Figurative art and total abstraction are almost mutually exclusive. But figurative and representational (or realistic) art often contains partial abstraction.

Both Geometric abstraction and Lyrical Abstraction are often totally abstract. Among the very numerous art movements that embody partial abstraction would be for instance fauvism in which color is conspicuously and deliberately altered vis-a-vis reality, and cubism, which blatantly alters the forms of the real life entities depicted.

Paul Curtis aka Moose is no regular graffiti artist. In fact, he’s the reverse-graffiti artist. He created his street art by *cleaning* the dirt and grime off of surfaces!

Authorities are baffled: is selective cleaning a crime?

The tools are simple: A shoe brush, water and elbow grease, he says.

British authorities aren’t sure what to make of the artist who is creating graffiti by cleaning the grime of urban life. The Leeds City Council has been considering what to do with Moose. “I’m waiting for the kind of Monty Python court case where exhibit A is a pot of cleaning fluid and exhibit B is a pair of my old socks,” he jokes.

From 1855 to about 1876, it hosted the entertainments produced by Thomas German-Reed and his wife, Priscilla, a theatrical couple who specialized in brief, humorous musical sketches and impersonations aimed at a “respectable” middle- to upper-class audience. It was also home to a wide variety of other entertainments, including numerous moving panoramas, dioramas, and lectures.

The Gallery was an intimate 500-seat theatre and, according to contemporary accounts, was “one of the most popular and fashionable places of recreation in the Metropolis.” The address is presently the site of an office tower.