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This week: a celebratory retrospective in Dallas, Cuban cars in Houston, and "waiting for it" in Austin.

The threads of belief and disbelief are thoroughly interwoven into the fabric of Lisette Chavez’s art.

The late Havis credited the military with providing his earliest access to the mysticism of Eastern cultures that’s evident in his art making, as well as the confidence to pursuit art at all.

The big, bulky, striped canvases we know of his from the Modern’s own collection are given some backstory here, starting with Scully’s early attempts to generate space by weaving grids of colored bands, and ticking through five decades of paintings, pastels, prints, drawings and paint sketches. 

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.

Juan Sandoval, coleccionista de arte mexicano y latinx, legó una extensa colección de libros a una librería independiente de El Paso.

This week: shapeshifting in Dallas, communication disruption in San Antonio, and decorating tips in Houston.

Cannings' work continues to get at the relationship between violent culture and childhood.

Her intention as an artist was to inhabit a space outside of the snobbery of the traditional art space.

Brandon Zech talks with San Antonio-based artist Mark Menjivar about archives, social practice art, and Menjivar's new virtual residency project with Glasstire.

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.

Revier’s show has the capacity to illustrate Texas’ relationship to the rising tides of change, with the nuance that only an artist could muster.

This week: a force field in Houston, a magazine's history in Dallas, and plenty of fur in San Antonio.

I feel lucky to be able to finally sit and chat with Ana Hernandez. After selling out her show Let Them Eat Cake at San Antonio’s AnArte Gallery, she’s preparing…

Today: Cool cats

Without a doubt I have learned more from Bartlett rather than the other way around.

The exhibition combines ten of Frankenthaler’s prints (and six of her proofs) with several other artists’ works from the 20th and 21st centuries.

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.

In his 1960 essay, Modernist Painting, Clement Greenberg writes, “With Manet and the Impressionists the question ceased to be defined as one of color versus drawing… and became instead a…

This week: die laughing in Houston, bombs and border crossings in El Paso, and a new space opens in Fort Worth.