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Caroline Koebel talks with the duo whose recent show provoked a cinderblock through an Austin gallery's window.

Both artists are consciously flippant in their grandiosity—despite an interest in simulacra, photorealism, and op-art, the crux of Elrod's work is its archaic presentation as grand painting.

For Byzantines, religious works were active, potentially living things. Curator Glenn Peers suggests a Byzantine mode of seeing in which faith takes on a strange, scary, evocative life of its own.

The recession brought to the city a concentration of young, energetic, like-minded creatives. Now, how do we keep them here?

Despite their busy magnificence, the drawings' humble, work-for-hire sensibility perfectly matches their impersonal subject matter.

Monolithic silhouettes, urban artifacts, and references to Mandelbrot's fractal sets are executed with a striking machine-like degree of control and perfectionism.

Mocking the grief of adorers of John Lennon, Princess Diana, and John Kennedy seems blasphemous.

UT Art History PhD candidate Rose Salseda discusses Afro-Latin American identity and art that fuses punk rock, immigration, and post-identity politics.

It's the hue-riffic essence of what Silkwörm Gallery and Studio owner, Joe Mc Hug says is a “Post-Chicano” sensibility.

Koraïchi's complex, illegible banners and the white magic they enact suggest the western perception of Islam today: without education and awareness, we are locked out of understanding.

A three day summit of creative music including performance art, film, and installations is about the coolest electronic music geek-out session I can think of.

Bearden and Homer cleverly spin experience into a something we can all sing—Cyclops, Circe and Nausicaa are recounted in colorful and expressive collages, which take cues from Matisse’s cut-outs and blend them with African tropes.

Season is dedicated to the act of fishing and its trappings—in the center of the gallery, the hacked-off bow of a sailboat lies atop a white table like the carcass of an enormous fish that’s been laid there for cleaning.

Organized by the DMA’s Olivier Meslay with help from the Amon Carter, it's a small, thoughtful gem of a show, and dense with emotion—a surprise grenade of grief, wishful thinking, and soul searching.

Using themselves and their bodies as inception, means and end to art production, Jonas and Pane's work is a precursor of today’s predilection for transforming private aspects of existence into spectacle.

Unconventional placement tests how Araujo’s work holds up in contexts outside the traditional exhibition space, and speaks to the curator’s happy-go-lucky sensibility, but feels confused.

In today’s installment, Houston artist Gabriel Martinez talks about trespassing, staking a claim for art, and making a scene.

"It's a good practice in not having expectations. Often I don't know how something's going to be or turn out, because there is that human element . . . It's like setting up a framework, with me not necessarily controlling how it's worked within."

Ferrer’s work reminds me of carnivals and cupcakes, but underneath the Cirque du Soleil atmosphere, there is something hallucinatory—like walking around in Johnny Depp’s Wonka candy forest or waking up after a fall down the rabbit hole.

Frieze is the fair with all the hype—and three cafes, wood-paneled porta-potty complexes, a VIP room and air-conditioned tents out on Randall’s Island. Highlights shall now ensue.