Kaleidoscope

Like an other-planetary game of Upwords, Luis Romero's stacked mixed-media assemblages give the impression of inscrutable codes being built from the bottom up. With masking tape, staples, colored pencil and scraps of paper, Romero erects flat images that appear three-dimensional; intricate puzzles that seem topographical. His solo exhibit, "Nameless and Reverberating," which opens tonight at Fleisher-Ollman Gallery (fleisher-ollmangallery.com), piles on layers of meaning without saying a word.

Efterklang aren't exactly rocking out on their new Magic Chairs  (4AD), but there does seem to be something rekindled and reinvigorated about the Danish folk dreamweavers this time around. The huge, pretty choruses are huger, and the swoony string section picks up the pace without sounding like a jewelry commercial. The pop mini orchestra plays the First Unitarian Church sanctuary on Tuesday (r5productions.com).

—Patrick Rapa

Secret Cinema (thesecretcinema.com) screens obscura on the reg — stuff you've probably never seen before and certainly will never see again. But Jay Schwartz's themed programming means some strips might not get their moment to shine. That's where Curator's Choice 2010: Unseen Corners of the Secret Cinema Archives comes in. These grab-bag programs are a double-rare treat (the last one was two years ago), so get yourself to Moore College of Art & Design on Friday at 8 p.m.

At this point, Philadelphia, I hope you've learn to trust Thaddeus Phillips. When the Lucidity Suitcase frontman says he wants you to watch the story of a dude and his rubber ducky sailing across the ocean to start new lives as shadow puppeteers, well, just take his hand and make the lovers' leap. Microworld(s) Part 2: The Undiscovered Country (Part 1 was a Fringe thing) promises to be a fun, visually captivating and totally green-powered ride (Feb. 25 to 27, Painted Bride, paintedbride.org).

—Patrick Rapa