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The trajectory of my work for the past 25 years has been questioning the veracity of the photographic image. Could I make a fake photograph look totally real?

You asked for it: our popular Thursday email outlining some of most see-worthy art event statewide, here presented in blog form, with bonuses!

UT MFA graduate Adriana Corral talks about using her art to fight the silence surrounding acts of violence.

The LACMA experience was like being in a glowing, sci-fi trance on another planet brimming with strange wonders. The MFAH’s exhibition, however, is embarrassingly lackluster.

What’s more fake than the art world? Pro-wrestling.

Videographer Lee Webster scouts Austin curbsides for photogenic trash with artist Jason Webb.

The placement of the works leads the visitor in an uncanny figure eight dance back-and-forth between the cells.

I wondered whether the folk traditions I remembered from my upbringing in Mexico could offer solutions to problems in technology. I was fascinated by the idea of Santeria rituals as computer code.

His paintings are giant Jenga puzzles daring you to take out one last block, poised to tumble into uncomfortable corridors where race, masculinity, past, and present meet.

Postproduction has been a part of the process since the medium’s birth.

So, is the epicenter moving? If you think of how people perceive the art scene in San Antonio, then, yes.

“The Black Letter" was designed and delivered with care, and for some that made its contents even more disturbing.

BD: Did you approach any more formal venues with your idea? MF: They wouldn't have said yes. Why would they?

Two artists' work stood out: Sara J. Frantz's finely refined, tight landscapes and Rob Verf’s loose, otherworldy mappings of the figure.

Dal Verme combines graphite and paper in impossibly intricate works that bypass any colloquial definition of drawing.

Decoding Amita Bhatt’s solo exhibition requires an understanding of Buddhist Thangka paintings, and all 64 categories of Hindu art.

Performance art, once denigrated by many to the “peanut butter and nakedness” category of incomprehensible contemporary art, has now become way cool.

Shook! is Holloway’s first attempt to process not just the black experience, but his personal experience with being a black artist.

Broken machinery is kept around for spare parts. Tires are stacked up like canned vegetables. Shady trees, window a/c units, satellite TV dishes show up like grace notes.

Crumbs aside, napkins are a cherished material for one of San Antonio’s premier minimalist painters.