Megan Wilson Krznarich

Megan Wilson Krznarich reviews a group exhibition at Fort Works Art that captures spirit of the political moment.

Megan Wilson Krznarich reviews a show of mixed media artworks that use the detritus of the information age to explore the natural world.

Megan Wilson Krznarich writes about an immersive installation by Bianca Bondi, on view at Dallas Contemporary.

Megan Wilson Krznarich interviews artist Chloe Chiasson about her exhibition "Keep Left at the Fork," on view at Dallas Contemporary.

Megan Wilson Krznarich writes about a stellar show of works from the collection of Marcela Preciado and José Noé Suro, on view through December 31 at Dallas Contemporary.

Megan Wilson Krznarich reviews Eduardo Sarabia's immersive exhibition of ceramics, paintings, and other artworks at Dallas Contemporary.

Megan Wilson Krznarich on how the exhibition "If you look Hard Enough, You Can See Our Future" at the African American Museum in Dallas reflects the people and happenings of the city.

Megan Wilson Krznarich interviews artist Joshua Goode about his practice and his exhibition at Fort Works Art in Fort Worth.

Megan Wilson Krznaric reviews "Woven Together," on view at Kinfolk House in Fort Worth.

Megan Wilson Krznarich interviews artist René Treviño on the occasion of his solo exhibition, "Flare," at Erin Cluley Gallery in Dallas.

Megan Wilson Krznarich on the work of artists René Treviño, Lovie Olivia, and Nic Nicosia.

Megan Wilson Krznarich on the veiled social critique in the work of artist Bernardo Vallarino.

Megan Wilson Krznarich reviews an exhibition of prescient paintings by Spanish artist Bartolomé Esteban Murillo.

Megan Wilson Krznarich on Christopher Blay's otherworldly look at our past, present, and future.

Megan Wilson Krznarich on how the exhibition "Women Painting Women" seeks to expand our understanding of women artists.

Megan Krznarich on how artist Anna Mavromatis' works trace the ideas about and status of women in American culture.

Exhibitions can be an effective tool for arts organizations and museums to amplify representation of people of color, but shows alone cannot eliminate barriers that have persistently disconnected visitors from these institutions.

Megan Wilson Krznarich on Colette Copeland's familial connection to one of America's most infamous outlaws.

Megan Wilson Krznarich reviews the exhibition "The Language of Beauty in African Art" currently on view at the Kimbell Art Museum.

It is important to remain cognizant of the power given to institutions, including museums, to shape the historical narrative.