Neil Fauerso

Of all of 'Immersed' installations, Sauter’s is the highlight — dazzling and unsettling, truly immersive and dislocating.

In an age of relentless, braying defenses and assertions of grotesquely 'fixed' concepts, Jiménez's and Cabrera's works say: "No, this is not the world, this has never been the world."

The strength of the show lies in the associations, references, and stories coiled in the works, like sleeping snakes.

Obsessed with the ineffable frisson of live performances, the group Object Collection combed through recordings of more than 1000 hours of Fugazi performances, effectively keystroking through the songs to find moments of shock and surprise.

The hyper-detail, size, and symbolism of the show's centerpiece are overwhelming. It is simply the most beautiful and impressive piece I’ve seen this year.

Ramirez’s work, and now this film, are sort of Dia De Los Muertos altar to Ramirez, which is by extension, a kind of altar for those of us who love Ramirez's work.

The show carries on the lineage of Menchaca’s ancestors; with his wit, imagination, and intimacy with San Antonio, he's making a new "map" that despite its playful surrealism makes perfect sense. 

“Eat, sleep, dub, repeat,” Marie sang, and the crowd sang back. This is Part Two of a two-part dispatch on this year's Marfa Myths.

One of the best things about any music festival is seeing a show by someone you know nothing about who blows you away. This is Myths' strength.

A few decades of drab and rapacious suburban planning cannot suppress beauty forever. Let’s take a tour of three of the gems of Sugar Land.

Sarah Fox’s multi-media works are simultaneously unsettling, tactile and elusive, suggesting a childlike fairytale ambience and dark sexual symbolism.

A poem written by Neil Fauerso in 2003, when he was 21. It was recently included in the two-person show 'Joey Fauerso & Neil Fauerso: Dig Three Tunnels' at Testsite in Austin. 

The works throughout this show are often devastating, but also resolutely hopeful.

These two shows do not feel 'contemporary' but rather timeless, pondering old things that answer through existing.

It’s exciting to see the conventions of exhibiting and selling art messed with with such a confident swagger.

Many of the paintings have a gauzy logic just out of reach.

Late capitalism has forced many of us to live in a continuous desperation, ever reacting and improvising. You must look to the sky and see which stars beguile you.

In the sparseness of rural living, the vacancy can be a refuge for one’s eccentricities. There are portals everywhere.

One of the main coping mechanisms I’ve had for this year of rage and despair is listening to this music in my studio. I hope you can find some time to give these a spin in your studios wherever and whatever they may be.

The way culture engraves itself on you is the haunting core of Richard Armendariz’s show.