Essay

I found myself in a surprisingly pleasurable moment a few years ago, which bound me to an artist and an art genre to which I had never given a single thought.

Part 3 of Leslie Moody Castro's reflections on her recent visit to the NART Artist Residency, which is located in the Estonian border town of Narva.

Rediscovering pictures of Houston's Galleria sent me spiraling back over the madness of the past two years. This, in turn, made me wonder what other lost photographs I could unearth from the depths of our first quarantine.

Part two of Leslie Moody Castro's reflections on her recent visit to the NART Residency, which is located in the Estonian border town of Narva.

Leslie Moody Castro on how a trip to the Estonian border town of Narva brought up memories of her family and life on the U.S.-Mexico border.

This year, we covered art and other happenings across our great state of Texas and beyond.

Ruben C. Cordova examines three phases in the Metropolitan Museum of Art’s practice of deaccessioning art from its collection.

The Guerrilla Girls' ongoing struggle, fought with words and images, has served to raise issues of diversity and inclusion and to inspire artists and activists around the globe, both within and beyond the world of art.

In this final iteration of Sala Stories, artist Yunhee Min remembers her 1999 project at San Antonio art space Sala Diaz.

This article is the third in an annual exploration of Catrina-related phenomena in art and popular culture written for Glasstire.

I can recall a skeleton Elvis I once saw. The scary pompadour works.

Sala Diaz was the first space of its kind through which I came to recognize and appreciate the important duality of a house-space.

This week, San Antonio artist Juan Miguel Ramos talks about his 2002 public art project and exhibition at Sala Diaz.

I was worried about the bears. Had they been phased out in my short time away? Had my last essay been an unwitting elegy?

This week, San Antonio artist James Smolleck discusses how a 2012 show at Sala Diaz ignited a new spark in his work.

This week, Ethel Shipton finds that spilled paint is just another way to get there, and recalls the beginnings of friendship with Tracey Snelling, who writes about her summer 2003 experience at Sala Diaz.

This week Alejandro Diaz channels Aesop recalling the 1997 Jesse Amado show at Sala Diaz, while Jesse Amado takes us back to Madrid for ARCO 02.

These stories, and those that follow, paint a picture of an artist-run-space of humble beginnings — grass roots that will never harden into an institutional surface.

I am transfixed, and must immediately spend some time with these bears.

At this strange moment in history, Hills Snyder asks members of our creative community: What is at the top of your mind? What is in the bottom of your heart?