"Driving Forces: Contemporary Art from the Collection of Ann and Ron Pizzuti" is such a large exhibit, it takes up significant space at two locations: the Pizzuti Collection in the Short North and the Columbus Musem of Art.

The contemporary art collected by Ann and Ron Pizzuti has left an indelible mark on the central Ohio visual-arts scene.

Since 2013, the couple has shared their discoveries with fellow art aficionados via the Pizzuti Collection, the Short North gallery that recently was folded into the Columbus Museum of Art.

Yet, during the past six years, few exhibits have given a fuller picture of the extent of the Pizzutis’ collection than "Driving Forces: Contemporary Art from the Collection of Ann and Ron Pizzuti."

The exhibit is unique in its sheer scale: It takes up three floors at the Pizzuti Collection and an entire gallery at the Columbus Museum of Art.

With the purchase of an $8 ticket, viewers can gain entrance to the show at both venues. (Normal admission is still required at the museum.)

Between the two sites, works by more than 75 artists are on view, including iconic figures such as Jim Dine, Willem de Kooning and Roy Lichtenstein. It is no overstatement to say that the show spotlights many of the best and brightest in art made this century and last.

Curators Rebecca Ibel, previously the director of the Pizzuti Collection, and Tyler Cann, a contemporary art curator at the museum, have cannily spread out the exhibit’s riches; viewers would be shortchanged by going to one venue and not the other.

Fans of Frank Stella, for example, will encounter his vividly geometric works at each location. At the Pizzuti Collection, viewers may walk away hypnotized by the acrylic-on-canvas work "Minor Drag," showing a series of colorful squares that grow smaller and smaller; at the museum, visitors might be overwhelmed by the felt-and-acrylic-paint-on-cardboard work "Targowica III," presenting a huge, cartoonlike asymmetrical arrow.

Highlights at the Pizzuti Collection include Siobhan Liddell’s "Untitled (Spectrum)," which presents seven rainbow-colored glass rods arranged in a diamond pattern on a platform on the floor. Equally vibrant is Carrie Moyer’s acrylic-and-glitter-on-canvas "Stroboscopic Painting #1," which, with its fiery red and yellow streaks, suggests a film frame burning in a projector. Sonia Delaunay’s lithograph-on-paper "Unknown" shows colors coalescing into a gentle pattern.

At the museum, Hayv Kahraman’s oil-on-linen "Kawilya.2" stands out as an unusually kinetic portrait: The female figure at the center of the work is shown with one foot off the ground and her mane of dark hair windswept. More sedate is Derrick Adams’ acrylic-paint-and-graphite-pencil-on-paper "Floater 19," which lulls the viewer into a relaxed mood by showing a male figure drifting in a pool.

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The exhibit is impressively global in range. Chinese artist Zhang Huan’s ash-on-linen "Brick" sets itself apart with its muted palette and contemplative subject, showing a figure at a desk holding a group of books in one hand and a writing instrument in another. Cuban artist Rene Francisco’s oil-on-canvas "Fabrica de utopias" makes a sly political point by showing a group of glum-faced workers sewing flags representing the U.S. and Cuba.

To experience both parts of the exhibit on a single day requires a time commitment, but one worth making. "Driving Forces," at each of is locations, is not to be missed.

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