Essay

Jessica Fuentes writes about her recent visit to the Mexic-Arte Museum as part of her research funded by the Andy Warhol Foundation Arts Writers Grant.

Colette Copeland writes about working with art students at the National Institute of Design during her time in India on a Fulbright Scholarship.

William Sarradet writes about the relationship between sight, drawing, and illusion.

Colette Copeland writes about female Indian artists she's met who are creating smart, inventive work.

Hills Snyder writes about the work of Lubbock-based artists Jeff McMillan and Theodore Waddell.

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

Michelle Kraft writes about an art making workshop she led in Lubbock for members of the city's Survivor Housing community.

In the first essay of a four-part series, Colette Copeland writes about her time as a Fulbright Scholar in India.

Joaquin Castillo writes about a group exhibition in Brownsville featuring works by Emily “Melly” Hinojosa, Leslie Ann Barrientos, Gil Rocha, and Ray Madrigal.

After a visit to Marfa during Chinati Weekend, Zoe Roden writes about the small town and the distinct West Texas landscape, which has a penchant for highlighting reflections and refractions.

Jessica Fuentes writes a collaborative essay with ChatGPT about Claude Monet's "Weeping Willow," which is in the collection of the Kimbell Art Museum.

Susan Bean Aycock writes about and photographs the annual Day of the Dead festivities and parade in Waco.

Ruben Cordova writes about Catrina imagery and artwork created during Day of the Dead celebrations in Mexico and across the U.S.

Bucky Miller writes about his search to find Skelly, Home Depot's 12-foot skeleton.

Jessica Fuentes reflects on her experience visiting Robert Irwin's "untitled (dawn to dusk)" at the Chinati Foundation in Marfa.

Ruben C. Cordova reviews the Cheech Marin collection and building, and compares it to the inaugural exhibition of Marin’s collection at the San Antonio Museum of Art in 2001. 

Jessica Fuentes writes about Mona Hatoum's "Mobile Home II," which was recently acquired by Ruby City in San Antonio.

Bucky Miller gives an imagined tour of a mysterious set of photographs taken at a mysterious museum location.

On the occasion of the earthwork's 50th anniversary, Jon Revett writes about Robert Smithson's "Amarillo Ramp," Smithson's impact on land art, and his many unrealized projects in Texas.

Ruben C. Cordova evaluates sculptor Octavio Medellín's later work, beginning with a masterpiece, the "History of Mexico," which he calls “a symphony in wood.”