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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.

The tide of hateful anti-immigrant and racist rhetoric has sparked a renewed commitment by younger generation of artist-activists to speak openly on the issue.

Why Things are Falling Apart is a book I bought, then put off reading because, not having done my homework about the author, I feared it was written by some Tea Party wingnut.

Most of the works are some version of a flattened blob of cast concrete, cradling a block coated with either colored sand or crystals. They could as easily be religious relics as construction site debris.

Matagorda Bay was like a giant, naturally formed James Turrell. It doesn't seem all that strange that someone living here would start to see things.

Suddenly the show rushes into focus. Of course the tiled painting is a detail of the floor of his bathroom (it looks just like the floor of my bathroom!).

Peter Lucas previews some of the 30+ films being shown at Houston's QFest.

Joel Sampson’s Rhythm Machines reminds me of something one might see at a Maker Faire or the Musee Mecanique, if the people who made those things were less crass.

The work in the show, spanning from the late 1960s to the present, creates moment after moment of “aha.” As in “Oh, wow, you mean that trash bag is made of marble?”

Casey Stranahan walks through the Nasher's installation with Jeremy Strick and chats with Berlin-based artist Katharina Grosse about frameless painting and the taboo of color.

Lauren Moya Ford talks with Assistant Curator Michael Wellen about the art of breakfast tacos, how museums build collections, and Latin American exhibitions at the MFAH.

I know these people; I have worked for these people. The titles, though blunt, reveal their lifestyles: "Women on a Sailboat," "Pool," "Figure with Towel" and "The Jet Ski."

Screenings of artists' noncommercial cinema in digital form are rare enough. Showings of experimental film on 35mm are veritably unheard of.

Almeida and Guerrero make artwork that is worlds apart, but they share a small-town communal nostalgia, galvanized by an uncanny flair for the extravagant.

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.

In the latest of her Glasshouses series, Debra Barrera talks with Angel Oloshove about pop culture, transcendence, and Kokeshi dolls.

I don't really care about Dallas for Dallas and all of that talk. I want to fully exploit the potential of exoticism that the word Dallas brings to mind to people outside of the state.

Garcia referrs to his works as a “pseudo-spiritual-technology” that suggests Christianity and science can find some points of agreement only because the machines don’t work.

There are those who think gender isn’t an issue anymore (or, at least, shouldn’t be), but leave it to the Texas legislature to stir that pot and bring it to national attention.