Christina Rees

I think there’s talent everywhere that we don't get to see, and I think that there are artists who are truly deserving and fascinating who we don’t discover.

The effect of this show is like walking into a tight, hot political pressure cooker, but with a safety valve of humor.

I wondered if the house was merely unfinished, or if the entire premise had become unresolvable.

The show is one of the best testaments I’ve seen to artists’ intellectual curiosity and need to challenge convention, and all the while feeding their own impulse to make beautiful and compelling things.

What was problematic about the art world in 2014 is still a problem, but the larger and deteriorating political environment changes the shape and source of the alarm.

This is the best travel photo essay you will ever see.

Aitken's work is uneven, and the Fort Worth show drives that point home. It’s a show I want to like more than I do.

The summer months loom before Texas artists like a threat.

Finding some poetry in a Motorbunny is the kind of problem-solving puzzle I’d like to think all good artists would tackle with real intent.

Good artists can inadvertently unsell themselves by attempting the confident and polished ‘performance’ when they would have been better off grunting for an hour.

His work’s jumping-off point is his deep disdain for systems—for the nuclear family, for institutions and communities and religions that we’re all pushed through in an endless gauntlet.

When it came up that Opie’s conversation could be with her longtime friend Eileen Myles, the anticipation for Off Road immediately doubled, like a small explosion happened at the office.

Even by late Saturday afternoon dealers did not have that thousand-yard stare of bad-fair trauma.

Why would I have ever underestimated the God of Rigor?

Dallas artist Thor Johnson shares a surprising tale about a brazen attempted art theft of the Ritchie collection, circa 1980s, involving Belgian criminals, a helicopter, Uzis, and (VERY) armed ranch hands.

The show is almost like a pro athlete going back over all his game tapes to better understand his own evolution.

Whether or not Trump’s presidency ends in a full-scale nuclear war, my generation and plenty of others’ are seeing the wholesale destruction of social contracts and self-evident truths we once took for granted.

Here’s to a very uncomfortable 2017.

I just spent the last week in both Los Angeles and New York, and saw a lot of art.

Fontenot’s explosively celebratory, ultra-queer vaudeville of an installation and performance at Conduit is a gleefully raised middle finger. We should follow suit.