Playing host to its largest opening crowd ever, the Rose Art Museum began the year Wednesday night with three eclectic new exhibits offering a great selection of accessible works to the Brandeis community, while maintaining the museum's stellar caliber of art.The first, "'Post' and After: Contemporary Art from the Brandeis University Collection," highlights pieces from the museum's extensive vault that walk the line between postmodern and contemporary styles. Bright colors and oft-blatant political messages lent a hip flavor to the exhibit.

Richard Prince's "Untitled (Cowboy)" (2000) was among the show's best pieces. The crisp photograph of white, winter-bare birch trees in the snow is startlingly beautiful, holding your attention before you notice a cowboy about to lasso a cow. Unlike many of the other works, which take a more serious tone, this piece has a distinct sense of humor.

While most attendees took some time to glance at these pieces-particularly important works by Robert Rauschenberg and Matthew Barney-most took only a quick look on their way to the Fred Tomaselli exhibit, "Monsters of Paradise."

"Monsters" was the highlight of the evening. Tomaselli, who was in attendance, uses unusual materials and a layering process involving resin to create collages with a unique, psychedelic feel. Pills, leaves, photographs, you name it-Tomaselli has used it in one of his many pieces.

Be sure to brace yourself before you go into the exhibition-contrasting against black backgrounds, the swirls of bright colors can be overwhelming and dizzying on first view.

"Doppelganger Effect" (2004) is a noteworthy standout among the works shown here. Although its size initially seems intimidating, once you take a closer look (which you must do with every single one of Tomaselli's pieces), you are able to truly absorb the fascinating nuances of this masterpiece.

The third new exhibit is Alvin Lucier's "Chambers." Lucier, a former Brandeis professor, works with experimental music and sound pieces, each specifically tailored to its holding space. "Chambers" plays with the visitor's sense of hearing, coupling everyday objects with mismatched sounds. A funnel, for example, may emit the sound of a train barreling down tracks. Observers frequently found this exhibit to be a frustratingly challenging experience, and some were even seen shaking the pieces in an effort to understand Lucier's intention.

Of all the evening's exhibits, this show offered the most interactive experience, but it tended to confuse rather than engage its viewers. Perhaps "Chambers" is better visited when less crowded, so that the sounds can be more easily heard and reflected upon.

Overall, the evening was a great success for the Rose. The crowd seemed pleased, especially with Tomaselli's exhibit, and impressed by the diversity of the works. All three shows exhibit different aspects of modernity, and they complement each other well.

"'Post' and After: Contemporary Art from the Brandeis University Collection" runs through April 9. Fred Tomaselli's "Monsters of Paradise" and Alvin Lucier's "Chambers" run through Dec. 11.