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To fully appreciate the works, one must be vulnerable to the guilt they elicit.

The Houston photographer has a knack for being vulnerable and tough at the same time.

The inaugural CounterCurrent had its hiccups, but it wasn't just people getting naked and smearing things on themselves.

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

In the light of the spring sun, Houston's landscape of textured surfaces and hand-painted signs is open for viewing.

Formal fragility becomes the ethereal content of conversations past, places lived, at RE Gallery in Dallas.

History is built from stories; Hubbard and Birchler ask us to pay attention to the role that filmmaking plays in its construction.

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

If this trend continues, next year there will be nothing left to ridicule.

These filmmakers prefer visual noise to clear pictures. The effect is like traveling across interesting landscape with a dusty windshield.

We can enter Lê's semi-permeable walls of the past only with our eyes, much in the way we construct a memory: lacy bits of fact forming a vague half-truth in our minds.

What emerges from the uncensored, anonymous collective conscious? It’s a whole lot of love, sex, violence, monsters, animals, and fantastical, childlike absurdity.

This upcoming Austin screening dives inside the mechanisms of the moving image with rarely-seen film/video works by Hollis Frampton, Paul Sharits, Tony Conrad, and Steina Vasulka.

I enjoy seeing my art scene wearing its Sunday best.

About a year ago, I was introduced to the work of Nicolas G. Miller during the jurying of the Dallas Museum of Art’s annual Awards to Artists. His proposal was…

The sound drifting in from the headphones creates a virtual reality that is as unsettling and seductive as peyote.

Molloy, like author Emile Zola, quietly weaves narratives that reflect society’s image back on itself.