New Artist-made Creative Stations to be Implemented at the Blanton

blanton workstations

Beginning in June, the Blanton Museum of Art at University of Texas at Austin will implement the use of a series of works of art-cum-creative work stations made by artist Leslie Mutchler, Director of the Foundations Program at UT.  The commissioned hybrid artworks/artwork-making-places will be called WorkLAB Satellites and are flat-pack style constructions that are able to be configured in a number of ways. They will be situated throughout the museum so that visitors have places to let their creative juices overflow after looking at art in the galleries, “represent[ing] current thinking about the role of creative problem solving, and how art can be used to facilitate learning,” says the museum. This means the workstations serve as interpretive centers, much like one would find at a nature preserve, helping make big ideas, like photosynthesis or abstract painting, be easily accessible and applicable to everyday life.

The logic of such manufactured sites of engagement is to encourage “creativity, dialogue, and play among our visitors,” says Blanton director of education and academic affairs Ray Williams, in the hopes of creating a lasting relationship between art and children, primarily, though anyone, adults included, can hunker down at a station and make a paper and pipe-cleaner sculpture if they feel the inspired urge.

MAC Announces Departure of Executive Director

heesMcKinney Avenue Contemporary’s Executive Director Lisa Hees has announced she is leaving the art space after three years at the helm, effective June 1.  Hees will pursue arts related opportunities in the Boston area. The MAC, under Hees’ direction, experienced organizational growth through new collaborations and programming initiatives, and the quality of the art exhibitions produced while under her direction were largely excellent. Many received recognition in local and national media.

“I am honored to have had the opportunity to work with my incredible staff and Board of Directors,” says Hees. “The past three years I was Director at The MAC have been both professionally and personally rewarding beyond anything I could have imagined. I look forward to the future of The MAC and watching it continue to grow and serve its important role in our expanding cultural landscape.”

Free Art, Austin!

A street art collective in Austin known as SprATX has been sending folks all over town on mad-crazy scavenger hunts every Friday night. The treasure? Free art. Small token artworks are left throughout the city with clues posted by the artists on Instagram. Then, like so many Bansky fans, scavengers scramble throughout the city to snatch up what ever they can find. Austin’s PBS station KRLU has just produced a short video of the SparTX team’s Free Art Fridays as part of its Arts in Context short film series:

Membership Workspace for Artists/Creatives to Open in Houston


Houston Makerspace. Image courtesy Marisa Brodie.

It’s a fairly common problem: you go to art school, make lots of stuff using all the available tools, get used to the convenience, graduate, and then lose the free studio and free tools. You’re SOL for a table saw, lasercutter, 3-D printer and even just tableroom to work. So unless you and some buddies can pool your funds to make a legitamate studio workshop, you better start making small works on paper at your dining room table (which is now (again) your studio).

A scenario such as this is why some clever folks in Houston have developed an art-gear mecca called Houston Makerspace, which opens this Saturday, April 12, with much fanfare, after which time “Houstonians will have access to an unparalleled arena of workspace offerings including a wood shop, metal shop, rapid prototyping lab (read: laser cutters and 3D printers!), screen printing studio, letterpress shop, jewelry studio, and sewing and textiles lab.” They’ve also got the fittings for ceramics, glassblowing, and blacksmithing, and are beginning to build-out a 10,000 square foot community garden. Also, classrooms and studio space will be available, because seriously, you may just want to be there always, chatting at the coffeemaker with all the other types like you who need coffee a lot, pretending you’re in school again.

Membership for use of the facilities (minus the studio space, that’s extra) starts at $150, and “you’ll only pay for what you use, removing the burden of long leases. It’s like a gym, for makers!”

Pay attention artists/entrepeneurs in other Texas cities (ahem, Dallas)! Every city needs a place like this. (Just don’t be dumb like other cities (ahem, NY) and screw it up).

Paolo Soleri Documentary to Have Texan Premiere


vision-of-paoloBy popular demand, this week The Contemporary Austin premieres the film The Vision of Paolo Soleri: Prophet in the Desert for the first time in Texas as part of its Rooftop Architecture Film Festival on Wednesday, April 9 and Thursday, April 10. Soleri, a student of Frank Lloyd Wright, was a pioneer in environmentally sustainable architecture, what he called Archology, or “architecture coherent with ecology,” and most known for his beautiful, still-in-progress compound in the Arizona desert called Arcosanti which he began in 1970 with a long-view of the site’s future.

The film is a biographical look at a man whose “vision remains largely unrealized,” focusing on the current global crisis, highlighting how Soleri’s life’s work rings with the pitch of prophesy. Soleri died in April 2013.

Slow Down, Art-Eaters!

Thomas Struth  Kunsthistorisches Museum III Wien, 1989   chromogenic print   145 cm x 187 cm

Thomas Struth, Kunsthistorisches Museum III Wien, 1989, chromogenic print

In an effort to make art viewers look at art at a more contemplative pace, museums across the world will participate in Slow Art Day this Saturday, April 12. The name of the game is this: visitors to participating galleries and museums commit to spending a total of 10 minutes in front of 5 separate works, gathering their thoughts and reactions; then everyone gets together to discuss their experience, in some cases over lunch. It seems a loose and easy affair, more of a suggestion than a mandate. And the day might be good medicine, in direct opposition to the speedy consumption of cultural goods and experiences that is the bill of fare these days in bigger museums and galleries where the public is baited with spectacle, often involving celebrities, herded through turnstiles and fleeced for their demographic info. A reminder to eat more slowly so as not to choke seems in order.

Texas’ most chilled-out, participating museums and art spaces include: the Old Jail Center in Albany (which has a pretty great drawing show up right now, btw), the Crow Collection of Asian Art in Dallas, the Art Museum of Southwest Texas in Beaumont, and the Stark Museum of Art in Orange.

Art and Business Meet at the Water Cooler


As if the plain old art market wasn’t enough of a rat race, more and more, as museums across the country attempt to become more entrepreneurial in an effort to increase traffic and track that traffic’s personal information, art is being corporatized.  Advertising companies are even getting in on the art action by partnering with museums to project well-worn art images at us while we drive.

In the spirit of the entwined bedfellows that are art and commerce, or perhaps to ride the art gravy train, the Naveen Jindal School of Management at University of Texas at Dallas will be rounding up artwork from off the walls and out of the lobbies of area corporations this month for a show called—with diligent, perfunctory finesse, à la Dilbert—Artistic Impressions of Management. It’s an initiative “to advance creativity and innovation in a world-class business education.” In addition to creating a Corporate Art Showcase of loaned work, the school will also host a photography competition among its students that will be juried by Jacqueline Anderson, a show with work by Dallas artist John Fowler, the unveiling of the Jindal Art Collection, the contents of which have not been disclosed, as well as other art events. Why the big to-do? To raise money, of course! 

Proceeds from the event will benefit the Jindal School’s art fund, which will be used to commission a glass sculpture by local artist Jim Bowman as well as contemporary works for the new building expansion. This collection is designed to provide a cultural experience for Jindal School students as they receive a world-class business education.

And what will business students do with all of this art-fueled inspiration?!  This seems in the spirit of the day.

Democratic Process to Determine Art for National Ad Campaign

Edward Ruscha, Standard Station, Amarillo, Texas, 1962, from Twentysix Gasoline Stations, 1963. Gelatin silver print, © Ed Ruscha. Courtesy Whitney Museum of American Art.

Edward Ruscha, Standard Station, Amarillo, Texas, 1962, from Twentysix Gasoline Stations, 1963. Gelatin silver print, © Ed Ruscha. Courtesy Whitney Museum of American Art.

This summer, as you drive around the country, keep your eyes peeled for billboards and other signage emblazoned with gigantic images of art. As part of a cooperative agreement between the Outdoor Advertising Association of America and the National Gallery of Art, the Art Institute of Chicago, the Dallas Museum of Art, the Whitney Museum of American Art and the Los Angeles County Museum of Art, images of 50 great American artworks, as selected by the general public, will festoon ad space in an effort to. . . er, champion the art prowess of ‘Merica!

Starting TODAY, April 7, anyone—art-lover, art-hater, art-poll-saboteur—can log on to to vote for one of 100 selections made by the respective museum curators. The final list will be narrowed down to only 50 works, the images of which will be digitally throbbed to the masses on August 4 in Times Square and then filed out to public surfaces all across the country, from California to the New York Island, from the redwood forests to the Gulf Stream Waters.

Expect the master list to include the classics: Grant Wood’s American Gothic, Andy Warhol’s soup cans; but hope for a puckish curatorial selection from somebody (please?), like something out of the Herb and Dorothy Vogel Collection, National Gallery, right?! Maybe Lawrence Weiner’s MANY THINGS PLACED HERE & THERE TO FORM A PLACE CAPABLE OF SHELTERING MANY OTHER THINGS PUT HERE & THERE, 1980. Too conceptual? Probably. But I’d slow my car down for it (whatever it looks like); that and Bruce Nauman’s Shadow Puppet Spinning Head if it was playing on one of those fancy digital billboards, DMA. . .

Let the voting begin for “the biggest art exhibition ever conceived!”


SPACE Ready to Open Private Collection to the Public

Andrea Bowers, Detail of Memorial to Arcadia Woodlands Clear-Cut, 2013, Metal, paracord, rope wood, 118 X 67 inches. Copyright the artist.

Andrea Bowers, Detail of Memorial to Arcadia Woodlands Clear-Cut, 2013, Metal, paracord, rope wood, 118 X 67 inches. Copyright the artist.

On April 18, San Antonio’s Linda Pace Foundation will open SPACE, an exhibition space designed by San Antonio architect Jim Poteet, FAIA,  which will house the collection of artist and philanthropist Linda Pace, making the artwork “available for public view on an ongoing basis.” The opening comes on the heels of the departure last week of the Pace Foundation’s director of one year, Maura Reilly, who, in part, came on to the Pace Foundation in order to help launch SPACE .

Despite her leaving, the show must go on: Reilly curated SPACE’s inaugural show, Pace Gems with the help of exhibitions and collection officer, Kelly O’Connor.  Pace Gems will feature the work of artists connected with the Artpace residency program, which Linda Pace founded in 1993, as well as a bevy of internationally recognized artists, including Catherine Opie, Donald Moffett, Lynda Benglis, Kendell Geers, Teresita Fernandez, Mona Hatoum, Jim Hodges, Yayoi Kusama, Daniel Joseph Martinez, Marilyn Minter, Glenn Ligon, Nancy Spero, and Wangechi Mutu, as well as Texas natives like Forrest Bess. Also on view will be the Foundation’s newest acquisition, a monumental work by Andrea Bowers called Memorial to Arcadia Woodlands clear Cut, 2013. Opening festivities take place April 18-19.

The Linda Pace Foundation Gallery
Located at the back of CHRISpark
111 Camp Street
San Antonio TX, 78204
Hours: Wednesday–Saturday noon–5pm

Austin to Open its First Art Storage Warehouse


Marcel Broodthaers, Museum of Modern Art, Department of Eagles, 1968

Marcel Broodthaers, Museum of Modern Art, Department of Eagles, 1968

You know your city is making art market strides when a group of guys opens a high-end, climate controlled warehouse for all the overflow art to go. As the Blanton’s collection grows and as area institutions like UT and the Contemporary commission more large-scale outdoor works, longtime art handlers Robert Boland, Chris Campbell and Patrick Sheehy will open Vault Fine Art Service to fill that art storage void that has lately become more apparent, reports the Austin American-Statesman (article behind paywall). Even as small commercial galleries shutter in Austin, it seems the larger art institutions and collectors are building substantial art holdings.“Quietly, in recent years corporations have developed art collections, and the circle of private collectors has widened,” says the newspaper. The Vault team, with good art market savvy, will open a place for all that extra stuff to sit.

George W. Bush Painting Show (and its Doppelganger) Opens TOMORROW!

Portraits of (clockwise from bottom left) former  President Nicolas Sarkozy of France, Prime Minister Stephen Harper of Canada, the crown prince of Abu Dhabi, Mohammed bin Zayed, and the former president of South Korea, Lee Myung-bak. All were painted by former President George W. Bush. Credit Brandon Thibodeaux for The New York Times

Portraits of (clockwise from bottom left) former President Nicolas Sarkozy of France, Prime Minister Stephen Harper of Canada, the crown prince of Abu Dhabi, Mohammed bin Zayed, and the former president of South Korea, Lee Myung-bak. All were painted by former President George W. Bush. Credit Brandon Thibodeaux for The New York Times

George W. Bush’s much-anticipated painting show opens tomorrow at the 43rd President’s library and museum on the SMU campus in Dallas! Foregoing the innocuous subject matter of his earliest paintings—dogs, bath time, cats—on view at the library will be a series of portraits of some of the world leaders that Bush encountered and engaged with while in office–Putin, Tony Blair, Nicolas Sarkozy, and the rest of the World Leader Crew.

In honor of the absolutely earnest hobby of GW, CentralTrak Artists Residency will be hosting a absolutely satirical show of reproductions of his work as organized by artist/curators Morehshin Allahyari  and Julie McKendrick in collaboration with “Children of Artemis – Sketch Cult” – a regularly assembled group of Dallas-based artists at CentralTrak who make art in a communal setting. For the opening on Saturday night, George W. Bush himself (no, just kidding, a fake GW) will be in attendance, “available to pose for photographs and answer questions about his inspirations, techniques and future artistic projects.”

Also, “attendees are encouraged to add to the celebratory mood with creatively-themed costumes such fluffy bath-time robes or amateur painter’s smocks or even attend the event as a presidential pooch or kitty cat!”

The reception is on Saturday, April 5 , from 7pm to 10pm, at 800 Exposition Avenue, Dallas.

James Surls Sculpture to be Planted in Houston

tree and three flowers

On Tuesday, April 8, the 38-foot high bronze sculpture Tree and Three Flowers by the artist James Surls will be formally dedicated as a work of public art on Kirby Drive in Houston. A product of a strong 50/50 public/private financial partnership, which leveraged TIRZ (that’s tax increment reinvestment zone) and Upper Kirby Management District participation with private donations from arts-dedicated Houstonians, the work will be seen by more than 50,000 cars a day in the high traffic Upper Kirby area. Tuesday’s dedication will included speeches by Syd Bailey, Chairman of the Upper Kirby District Foundation; City of Houston Mayor Annise Parker; artist James Surls and Houston City Council Member Ellen Cohen.

Artist James Surls is a bit of a Texas institution. A native of Terrell, TX, Surls has shown sculptural works in some of the state’s best museums, like the Dallas Museum of Art, SMU’s Meadows Museum and University of Houston’s Blaffer Gallery.  Surls also founded the influential artists’ enclave, the Lawndale Art Center, in 1979, which has become one of Texas’ most valued artist-focused exhibition and residency spaces.

Surls on Kirby Dedication
Tuesday, April 8, 10:15 a.m.
2800 Kirby Drive, Houston, 77098

Genetic Data, Larger than Life

Adam Ball alongside one of his DNA murals.

Adam Ball alongside one of his DNA murals.

The brand-name mural has become a staple of the annual Goss-Michael Foundation’s  MTV RE:DEFINE auction, benefitting MTV’s Staying Alive Foundation and the Dallas Contemporary, in addition to the gala party, the pricey art works, and the hoopla that ensues when artists, charity, and MTV collide like atoms in a nuclear fusion reactor in a desperate effort to create energy by putting together things that may or may not belong together. In 2011, EINE spiffed up under-construction Museum Tower. In 2012, Lee Baker painted on the partitions around the soon-to-be-demolished Praetorian Building. This year, Goss-Michael has tapped British artist (naturally) Adam Ball who will create a mural at the Dallas Contemporary, where MTV RE:DEFINE takes place this year.

Ball’s mural almost sounds like an abstract JR, the French artist who recently enjoyed a show at the Dallas Contemporary, only instead of plastering selfies of his audience to walls, Ball takes swabs of their DNA and then transforms it into an abstract pattern. For the MTV RE:DEFINE auction, the winning bidder will provide a DNA sample that the artist will then have photographed before using it to create a unique large-scale mural at a chosen location. “Artistically speaking there is an established idea of what a portrait should be, whereas in this work I hope to reflect the very blueprint of an individual, working from the inside out,” says Ball. The results are perfectly innocuous patterns that resemble thick forests or algea under a microscope though the lens of Technicolor psychedelia.

Funeral Museum to Showcase Papal Life and Death

The first bullet-proof Pope-mobile, 1982.

The first bullet-proof Pope-mobile, 1982.

As the election of Francis showed us in 2013, it’s hard to top the spectacle of a papal election. But you know what comes close? A papal burial. And now those in Houston can experience what it’s like to put the Catholic Church’s #1 in the grave–or in the case of quite a few popes, in a glass casket in St. Peter’s Basilica—without schlepping it all the way to Rome.

In honor of the upcoming team canonization of Pope John Paul II and Pope John XXIII on April 27, this month the National Museum of Funeral History (yes, this is a real place and no, this is not a belated April Fool’s Day joke) will mount an exhibition of famous papal funerals called Celebrating the Lives and Deaths of the Popes. While the museum says that the exhibit it not all about Pope John Paul II, it is showing most of his stuff, like the actual sash he wore daily with his cassock, photographs from his funeral mass and original burial in the grotto under St. Peter’s Basilica, a replica of his burial container and crypt, as well as an actual “Pope-mobile” used during Pope John Paul II’s 1982 trip to the United Kingdom (developed as the official “Pope-mobile” after JPII was shot in 1981).

If you’re in doubt about whether this is sounds like fun, have no fear: “When the exhibit opened in 2008,” says the museum, “Roberto Casorssi, tailor to the Pope, toured the exhibit and exclaimed, “Perfecto!  Perfecto!  Perfecto! If I didn’t know I was in Houston, I would have thought I was back in Rome attending the funeral of Pope John Paul II once again.”

Good times.

MASS Gallery Seeks Hot Artists


After settling into their new Calles Street space last fall after two years of operating as a nomadic gallery, the non-profit, artist/creative-run Austin space MASS Gallery announces plans to hand their gallery over to 2 artists this summer in sophomore year of the cleverly dubbed Hotbox Residency. Each artist can utilize the gallery as studio space for up to 5 weeks, between August 1 and September 6, with a focus on “nurturing projects that would not be realized otherwise” (read: fresh-out-of-grad-school folks in that odd gap between the incubator of the institution and the real world), though it is open to anyone at any stage in their career. The hope, MASS says, is to “ give artists the opportunity to explore new ideas or practices, and allow the participating artists to engage with the Austin community.” Last year’s Hotbox residents included Jill Pangallo, Jory Drew, and Jules Buck Jones.

All MASS Hotbox residents are required to participate in the gallery’s Close Encounters series which engages the public in some creative way. “Open and broad, this prompt can be approached from a multitude of ways: performative, passive, or completely radical in execution or thought, this program is a challenge to the artist, as well as the audience, and designed to provide a new way of encountering and understanding the creative process.”

Residents are given an honoarium of $800, however housing, transportation etc. are up to the applicant. Applications are due May 1.

TWO x TWO Names 2014 Honoree

KARSTEN MORAN | THE NEW YORK TIMES Artist Wade Guyton in his New York studio in front of a work produced by an inkjet printer on linen

Artist Wade Guyton in his New York studio in front of a work produced by an inkjet printer on linen

TWO x TWO for AIDS and Art, have announced the collectors and art patrons Lisa and John Runyon as the 2014 Event Chairs and artist Wade Guyton as the recipient of the 2014 amfAR Award of Excellence for Artistic Contributions to the Fight Against AIDS. Over the last sixteen years, TWO X TWO raised over $45 million, securing money to both help in the fight against AIDS and help in the purchasing of contemporary art for the Dallas Museum of Art. Win/win.

Of course, TWO x TWO gets a world of heat for being ultra-exclusive, more than a little vampiric (local artists donate scads of work but are never invited to the big night), and in general a boozy, blue-chip, big-huge-wallet fest. Tales of famous people behaving badly always leak through the locked gates of the party; or famous people behaving badly sneak through the gates themselves—who could forget Mark Grotjan’s inebriated writhing in front of the Rachofsky’s Richard Meier-designed digs three years ago?

Wade Guyton, this year’s guest star It-Kid (it-man?), recently had a retrospective at the Whitney which received rave reviews. He is thought to be a sort of new media pioneer, what with his ink-jet printed “paintings.” Maybe so. All that matters for TWO x TWO, though, is that he lather the jet set into a charitable frenzy.

Dallas Museum of Art Appoints Director of Technology and Digital Media


Shyam Oberoi

Robert Stein, Deputy Director of the Dallas Museum of Art, announced yesterday that Shyam Oberoi has been appointed as the Director of Technology and Digital Media. Oberoi is currently the General Manager of Collections Information Services at the Metropolitan Museum of Art where he steered the re-launch of the museum’s website in 2011, as well as updating the Museum’s online collection–no small feat, considering the Met’s vast holdings.

When he comes down to the DMA, Oberoi will lead the Museum’s digital and technical initiatives as well as the staff in IT, software development, digital media, and the photography and imaging departments. His main task will be to help get the DMA digitally up-to-date and help map its trajectory as a leader in digital media and technology among museums, adding that cred to the Museum’s mounting list of accolades. “Time magazine recently declared that ‘Texas is America’s Future.’ Similarly, I believe that initiatives such as the DMA Friends program; DMX, its international exchange program; and the opening of the new Paintings Conservation Studio point to the future of museums,” said Oberoi. “It is tremendously exciting to have the opportunity to be a part of an institution that is so committed to exploring the digital intersection of art, audience and technology.”

Oberoi will also head up the Museum’s web team and lead the march toward digitizing the Museum’s permanent collection, an aspect of the Museum’s contemporary digital savvy which is currently very much lacking.

Oberoi assumes his post at the DMA on April 14.

Amarillo Museum of Art Appoints New Collections Manager

rob-weingartPerhaps taking to heart David Byrne and Patti Smith’s recent disavowals of the Big Apple for pushing out young talent through high cost of living, Rob Weingart returns to his hometown of Amarillo after a stint in New York to serve as collections manager and head preparator of the Amarillo Museum of Art, Managing Director of AMoA Kim Mahan has announced. Previously, Weingart worked as a property manager at the esteemed auction house Phillips de Pury, as well as holding posts at the Museum of Modern Art, and the Brooklyn Museum, and a number of commercial art galleries.

Weingart received his Bachelor of Fine Arts degree from the University of North Texas and his Master of Fine Arts degree from the School of the Art Institute of Chicago.

Artist Theo Wujcik, 1936-2014

Theo Wujcik. Courtesy, Galleri Urbane.

Theo Wujcik. Courtesy, Galleri Urbane.

On Saturday night, after a rapid and intense battle against cancer following a diagnosis of the disease less than six months ago, the artist Theo Wujcik passed away at his home in Florida, his dealer and friend Ree Willaford from Galleri Urbane in Dallas reports. “With his loved ones around him, he moved on from this world,” Willaford says.

Born in Detroit in 1936 but a long-time resident of Florida, Wujcik was known primarily as printmaker. He worked for every major printmaking house in the country, including the presigious Gemini G.E.L. in LA where he was Jasper Johns’ printer in 1968. He was also a co-founder of the Detroit Lithography Workshop where he printed Robert Morris’ “Earth Projects” suite, a commission from the Detroit Institute of the Arts in 1969. He was beloved by many of the artists he printed for, including Ed Ruscha and James Rosenquist who recently flew to Dallas for Wujcik’s solo show opening at Galleri Urbane when Wujcik himself could not because of his illness, “as an homage to Theo,” Galleri Urbane’s Willaford said. As a printmaker, “Theo was the best,” Rosenquist said of him that night.

Like his friend Rosenquist, in his own artistic practice as a painter and printer Wujcik had a keen eye for irony: he knew just how to compose a picture to highlight life’s many hypocrises. He tackled the nitty gritty banalities of American life with imagery of fast food, bad beer, and fading logos of Coca-Cola, and explored how American commercialism spills out into the rest of the world in his Asian Series, a highly-detailed, sometimes exquisite picture of cross-cultural influence. theo2Wujcik’s recent Global Warming Series considers the fallout of consumeristic glut,  depicting a sacchrine world slowly succumbing to erasure by digital pixels.

Wujcik’s solo show of paintings at Galleri Urbane in Dallas was his last. He was eager to come to the opening and have a dialogue with his old friends Ruscha and Rosenquist in the space because the “show/event was the one bright light that lit his eyes up and kept him going for a bit longer,” Willaford says. Last week, Glasstire publisher Rainey Knudson recounted her experience at that opening and gallery talk that Wujcik was not well enough to attend. By all accounts, the night was strange and more than a little uncomfortable, but her piece underscores the odd intersection between art and life’s deeper meanings in a way that Theo Wujcik, an artist who spent a lifetime making images he hoped would show something real and raw about the world, perhaps would have appreciated.

Real Estate Company Sets Art Free

Courtesy of the Houston Chronicle.

Courtesy of the Houston Chronicle.

For 25 years, Brookfield Office Properties, one of Houston’s biggest downtown landlords, has run a program called Art Set Free wherein the company places artworks in the premier office buildings in New York, Los Angeles, Denver, Houston, Toronto, Perth and Sydney, helping expose the office tower set to sculpture, painting, performance and video art for free.

To celebrate a quarter century of making office tower life more inspired, the Houston Chronicle reports that Brookfield has compiled a a slideshow of work that artists submitted to the company through social media with the hashtag #artsetfree.  In a real thinking-out-of-the-box move, the selected works, called the Best of Art Set Free—some 7000 images from 1000 artists from 40 countries—will be displayed on a video monitor in the lobby of One Allen Center in Houston and in all office spaces around the world.