Dorota Biczel

As with a whole sub-genre of Mexico-violence art, Aragón's hand-drilled portraits shove the violence straight into your face.

Why the phenomenal success of Mexico-City-based English expat Melanie Smith? Because her work approximates perfection.

Long’s installations are about watching others experience them: amongst the barrage of sensorial stimulations, we can see ourselves as a part of the crowd—the insatiable consumers of cultural experiences.

It’s been a year since Louis Grachos took the helm at The Contemporary, and hired Heather Pesanti as Senior Curator. I sat down with them for a series of conversations on Austin and their vision for the rebranded institution.

A delicate color palette and the combination of natural with unnatural organize the show: from the glazed earthenware pineapple to the pile of palm-frond slices stacked intermittently with cleaning pads.

Berni’s works explode with an unabashed, visceral materiality, and raise questions regarding the construction of artistic canons, both in Latin America and beyond.

Is ultramarine-blue Plexiglas a sufficient reason to title a geometric sculpture Whispering Giotto? What does a chrome cube lined with white rabbit fur on a black granite base have to do with Thelonious Monk?

Pairing of Gillick and Vitale is a strategic curatorial pick for the rebranded institution. This choice is as smart as it is risk-free.

But the wooden box yielded to the pressures of mud and flesh, and quite spectacularly burst open. Slush flooded the gallery, producing a stir among the crowded viewers.

Not How It Happened by Chicago-based Joel Ross and Jason Creps, currently on view at Tiny Park gallery in Austin, is at once, a drawing, sculpture, and photography exhibit. Its…

Public Access, which runs at the MASS Gallery through May 4, purports to accomplish many, many things at the same time. The gallery’s 500-word description of the show is so…