Can an artist simultaneously celebrate and critique pop culture? Those familiar with the incredibly varied work of Richard Prince have seen appropriation, pop culture, and cultural criticism battle it out over the span of his 30-year career. His medium of expression varies greatly, from recreating photography, paintings, reprints of comics, and even collecting clay auto-body molds. The duality of his work is evident in his 1980s photographic recreations of the Marlboro advertising campaign, which celebrates the iconic image of the cowboy and Western landscape, while drawing attention to the hypocrisy that such an image would be used to advertise an addictive, unhealthy vice. His Nurses, inspired by the covers of pulp-fiction hospital romance novel covers, are both alluring and unsettling. Also, regardless of where his aesthetic inspiration takes him, each series of work explores concepts of artistic ownership, as he recreates and sometimes simply reprints photography, imitating iconic corporate symbols, or reprinting text or quotes from writers. Prince forces the viewer to reconsider context, drawing attention to the irony of pop culture, while bringing what is normally left unsaid to the forefront. After Hours Preview Party features food, film screenings of Rendezvous and The Honeymoon Killers, a text-based art activity, and music by Skoal Kodiak for $35 from 9 p.m. to midnight Friday, March 21. — Jessica Armbruster

It's hard to explain the suburbs to someone who has never lived in one. Like an exclusive fraternity, the 'burbs are full of cultural tics that influence our culture, political climate, and society in ways we might not even realize. The Walker's "Worlds Away" explores the split personality of the suburbs; how they can be simultaneously hailed as a utopian realization of family values and the American dream, and criticized for being an intestinal tract, shitting out conformity and homogeneity. In this group show featuring 30 artists and architects, works include colorful photography: a man mowing a dead lawn, a woman proudly standing in front of her McMansion in a silk robe, as well as architectural designs proposing the dawn of a new suburban aesthetic. The Walker After Hours Preview Party promises to be far more fun than a soccer-mom ice-cream social thanks to music by the appropriately named Alpha Consumer, and DJ Glen Leslie, and a screening of Jonathan Kaplan's Over the Edge (1979), a flick about a planned community and the teen hooligans who act out against it. Just don't try to make small talk about your sprinkler system or new SUV. The opening party is $35 from 9 p.m. to midnight on Friday, February 15. — Jessica Armbruster

Eugenics, the practice of changing the composition of a population through sterilization, or discouraging reproduction among people with "undesirable" traits and encouraging it among those with "desirable" traits, is an unsettling concept. But what "Deadly Medicine" shows about eugenics in Nazi Germany is downright terrifying. Organized and circulated by the United States Holocaust Memorial Museum, the display demonstrates that eliminating non-Aryans or unwanted members of society from the German population was not and could not have been a solely military or government operation. It took the efforts and compliance of scientists, anthropologists, geneticists, and doctors to plan and execute a path toward eugenics, forced sterilization, and genocide. "Deadly Medicine" shows this tragedy of the rise of eugenics in Germany from before the Nazi regime to its peak through video of survivors, photographs, propaganda, and objects. Throughout the display's run, the Science Museum will host a lecture series with experts discussing the ideas "Deadly Medicine" presents. On April 10, Eva Kor, survivor of Dr. Josef Mengele's harsh experiments on twins at Auschwitz, will speak about her process of forgiveness. — Ben Palosaari

Somehow, Irish-born painter and printmaker Sean Scully makes alternating shades of black interesting. Somehow, he makes 12-foot-wide prints feel intimate and cozy. And somehow, Scully makes simple patterns feel new and innovative, even though he's been creating them for decades. The 65 prints from the Smithsonian American Art Museum—the only collection in an American museum—on display at the Minneapolis Institute of Arts explore these elements of his vast body of work. Scully's use of lines, stripes, and squares in different areas of his prints gives them a geographic, quilted feel. When Scully places black and white checkerboard next to a different white and red checkerboard pattern, which butts into simple black pinstripes, for example, the work doesn't appear to be disconnected; it's an artistic landscape. As part of the opening weekend, on Sunday Scully will speak about his technique (which includes methods with fun names such as spitebite, sugarlift, and aquatint), as well as his subject matter. On April 17, the 25-minute film The Passenger by Robert Gardner will be screened. The film captures Scully's interaction with his 1997 painting by the same name. — Ben Palosaari

One doesn't need a use Twitter account, an emoticon on a LiveJournal entry, or a link to Google maps to understand that the ways we express and comprehend the meaning of "where" is changing with new technology. This is the general premise of Intermedia Arts ongoing show, "W(e are)Here," a multimedia exhibit that explores the new frontier of "place" physically, technologically, and emotionally. Works include artistic visualizations of hard data, interactive elements, and emotional renderings of location. This Thursday, from 6:30 p.m. to 9 p.m., guests can partake in a "Psychogeographic Mapmaking Party," which, while it sounds like a mouthful, is really more of an adventure. Participants will be sent off in small groups on tours where routes will be dictated by a rolling of dice. Using a wall canvas, Google Earth, a wall projector, and some booze, tour details and memories will then be layered onto one another to create a map of experiences. An art party featuring live music, food and drinks, and a presentation of the final map will be celebrated the next day from 7 p.m. to 11 p.m. — Jessica Armbruster

The hundred-year-old space at 923 Washington Avenue North cleans up real nice. Once an intimidating dive bar frequented by the flashing lights of cop cars, the place was recently rechristened Club Jäger and given a makeover to put America's Next Top Model to shame. The overhaul includes a retro "old-fashioned" look: dark woodwork, gorgeous bar (which stocks a decent beer and wine list), stained glass, a fireplace, palm trees, and a disco ball that harkens all the way back to the Weimar '20s. Weekly events help posh the place up, including Tasty Tuesdays (hosted by L'Etoile Magazine) and free live music Thursdays and Fridays, featuring the loungy likes of Beight, Cadillac Kolstad, and the Bill Lang Trio. This Wednesday, Jäger patrons can check out the return of DJ Jake Rudh's popular Transmission, a sonic gobstopper of indie, French, new wave, electronica, and bossa nova formerly held at the Hexagon Bar. Rudh has won every City Pages readers poll for "Best Club DJ" since 2003, so you know it'll be a good time. Free. 10:00 p.m. — Jessica Armbruster