There’s no shortage of complaints about nightlife in Santa Fe, but try and wedge all the great bars, clubs, lounges, dives and dance halls into a few pages, and it becomes apparent there’s a lot going on here—more than we can possibly include in one week’s worth of paper.

What follows then is an amended adventure through some of SFR’s favorite bars and haunts.

Like any contemporary exhibition concerned with the contemporary world, Emergence has much to worry about (and worry in contemporary art certainly isn’t just a contemporary concern). John Feodorov broaches issues of environmentalism, consumerism and a culture disconnected from its roots.

No, yes, Christ, crossing, 10, times, poison, pirates, dead string, straight-edge, I’m lying, I like you�an X can mean a lot of things. But an X is never just an X. In Crux, Mokha Laget creates a space to meditate upon the X and all its connotations in order to leave those associations behind�or not as the case may be.

No one ever suspects the basket weaver. The practice fits so easily into nursing-home craft circles and pre-industrial agriculture, and doesn’t usually push boundaries. The woven bamboo works at Tai Gallery, however, do just that, in regard to the craft.

We wrap up 2010 with a look back at the top stories that shaped the roller coaster of the last 12 months. True, not all of these stories woke us at 3 am with our teeth chattering. But the pervasive sense of seditious intent from the powers that be did fuel our thinking as we wrapped up the year. So we present not just the top 10 stories, but our own take on the conspiracies behind them.

This reporter, having never seen 1933’s Duck Soup, the referent of David Kearns’ Painting Groucho’s Duck, watched the cult classic in preparation for this review. While it’s a delightful way to spend 68 minutes, don’t expect it to illuminate much about the exhibition.

Artist Jared Antonio-Justo Trujillo’s works come in thematic pairs, and each work is further divided intotwo separate parts: an image and an illustration, for the most part. A black-and-white archival pigment print of a waifish model greets gallerygoers as they enter.

Charlotte Jackson has owned and operated her namesake gallery for 22 years. Last summer, she moved its location from Marcy Street to the Railyard, increasing square footage from 1,700 to 4,000. Charlotte Jackson Fine Art specializes in contemporary American and European art.

Peyton Wright’s entrance hall is crowded with oil-on-canvas works from floor to ceiling, slightly over-devoted to devotion. The gallery’s labyrinthine rooms span the 1500s-1800s with hundreds of pieces. Devotion finds its way into paintings, silverwork, furniture and carvings, which feature Jesus, Mary, angels and saints in any number of mythological scenarios and degrees of ecstasy and agony.

Some masks are for hiding. Some, such as Jim Carrey’s in The Mask, are for putting on other, more efficacious faces. Ryo Mikami’s masks are stand-ins for a whole spectrum of human emotions—just don’t rely on the placards to illuminate which emotions they are.