Christopher Blay

"As artists of color it seems like a double responsibility to make your work and to continually respond to racism —  it’s exhausting to be always responding to the ills of the status quo."

"There is a lot of information always hidden in the making."

For the past 24 years, Gallery 414 has survived the rise and fall of other art spaces in the city, and served as a proving ground for artists and curators alike.

Tomlinson’s silkscreen prints of people detained at the southern US-Mexican border is the subject of the first exhibition of his work since the veteran Fort Worth artist’s death last September.

I’ve been watching the nerds that come to these lectures since 1995.

Simmons’ work spans decades now, and reverberates with the politics of feminism and Simmons’ poignant and focused scrutiny of gender roles — both from intentional observations, and as a result of politics catching up to her photographs.

There's no reason why the opening season for art in DFW doesn’t happen on two consecutive weekends, one for each city. We’ll still show up, guys. Promise.

There are sections of paintings that wobble in double vision, figures fading in and out of scenes, and impossible combinations of each.

One could be forgiven for having skepticism about this show due to its popularity.

The solo exhibition has become an apt moment for reflection on the artist’s legacy.

If the art that comes after Childish Gambino’s 'This is America' video doesn’t move the needle in fixing whatever it is raging against, then we should stop making protest art, because it’s not working.

The 'intuitive mark' is something that Aram observes between the functionally decorative and the conceptually active spaces between Modernism and the legacy of abstract painting.

For the time being,  this and other shows like it in this space challenge the momentum and entitlement of gentrified sprawl.