Op Ed

Jessica Fuentes writes about "He Said/She Said: Contemporary Women Artists Interject," on view at the Dallas Museum of Art.

Brandon Zech hace una pregunta pertinente.

Ruben Cordova writes about Fiesta and proposes ways to make the annual event less tied to San Antonio's racist past.

Brandon Zech asks a pertinent question.

Jill Bedgood writes about ecological sustainability in the art world, challenging us to think creatively about the sustainability of art openings and events.

Ningún artista despertó un día y dijo de repente “¡de verdad me gustaría decorar una caja eléctrica!”.

A comic by the Houston, Texas-based artist John Forse.

When children wander through the museum.

Jessica Fuentes write about the past, present, and future of Fort Worth's art scene.

Matthew Bourbon remembers Vernon Fisher.

Matthew Bourbon writes about an artwork by Merlin James, which was recently on view with Kerlin Gallery at the Dallas Art Fair.

Caleb Bell recalls his recent visit to Lumiere, a mobile tintype portrait studio in Austin.

Deana Craighead reflects upon her first year as Curator of Art at the Panhandle-Plains Historical Museum in Canyon, Texas.

Gonna find out who's naughty and nice.

William Sarradet recounts his favorite moments from 2022 that didn't make it to publication.

John Forse imagines Norman Rockwell's iconic "Freedom from Want" as a victim of the recent food-inspired climate change protests.

Hannah Dean habla de cómo saber si te quieren estafar y robar tu arte (o tu dinero).

Philadelphia based artist and writer Ricky Yanas reviews "Border is a Weapon," a group exhibition about the U.S.-Mexico border.

“Caminar, en particular andar sin rumbo o dar un paseo, ya es—con la cultura de la velocidad de nuestros tiempos—un tipo de resistencia… un método bastante inmediato para desenvolver las historias.”

A comic by Houston-based artist John Forse.