Caleb Mathern

Such dense subject matter is heavy lifting and Abney carries it all with aplomb.

The show's implied literary bent is a bit of a red herring. Technique is the star.

What is art’s role in rebellion?

Steeped in technique, Murray’s aim is contemporary. His target? The news.

Horn’s translucent forms continue the artist’s long-held preoccupation with reflection, and culminate in a show that playfully fudges the line between objective and subjective art.

Krause and Winker pass this one to you, constructing a show viewers are invited to project their beliefs into. “Feel free to process,” Krause reckons.

The work is always about Texas, even when it isn’t.

Like a clever Hollywood script, Andrews’ show at the Nasher tells a story about telling stories.

Still ecstatically proud of his work, Werner Herzog promises the audience, “You can expect that I’m gonna do these things as long as there’s breath in me. I will stop only if they carry me out in a straightjacket.”

In spite of its subject matter and tone, there is no pitch-black heart in Morris' latest. Instead, we’re offered a serene and absurdist-lite take on the banal that asks audiences to come as they are and unpack as they please.