Review

Does the word “background” in Horn’s description of her use of language here as “background noise” really indicate an auxiliary purpose? I don't believe it.

“I’m not a storyteller. I’m an imagemaker. The story is made in the mind of the viewer.”

For No Idea, performers from around the country and the world perform multiple times in different collaborative configurations, giving the festival a freewheeling and communal atmosphere.

Listening to a house singing to itself is, quite simply, a magical experience.

Is it redundant to show works from the same artists and series concurrently in the same zip code, or, in this case, does it expand the conversation about printed paintings?

Anila Quayyum Agha's newest work, on view at Talley Dunn in Dallas, emerges as a small, quiet spectacle that operates with intelligence and sensuous resonance.

There's often pleasure in being reminded of one’s physical existence by art, and each work in the show does that on its own terms.

I think Ruby's impulse is limited to making cool-looking shit, so I’m often mystified by his seemingly unchecked success.

In short, this show presents like a most timely biennial. 

One of Jacobs' installations creates the sensation of being absorbed or implicated in the art, as if the art is watching you.

Movies struggle with the subject of the art world, don't they? The best part about 'Velvet Buzzsaw' is how it's caused us to think of much better movies about art. 

At Texas State University’s Wittliff Collections in San Marcos, a variety of historical research materials illumine writers’ methods and explore the mysterious places where stories originate.

You could make the mistake of believing that these paintings happened overnight, but anyone who’s made a leap forward in their own work knows that it takes years of private pushing to finally get a breakthrough.

Three compelling shows are on view at Fort Works Art in Fort Worth, with one extended an additional week.

Miller’s solo exhibition is spread across the modest two rooms and hallway in San Antonio's Sala Diaz, and is a quietly epic meditation on the sublime absurdity of existence.

Whether bursting with visual stimuli or more sparse and lonesome, these works speak to lonesomeness, self-discovery, attitudes about sex, and the kitchen-sink drama of everyday life.

Tomlinson’s silkscreen prints of people detained at the southern US-Mexican border is the subject of the first exhibition of his work since the veteran Fort Worth artist’s death last September.

As heir to multiple sculptural and cultural histories, Bhabha operates as a great synthesizer, yet her works never feel derivative of her forebears; they seem to glower with their own aesthetic logic and enigmatic meaning.

A single pickup truck periodically drove by the gallery at a crawl, with its windows rolled down, playing music at a volume that was surely deafening for the driver.

It is wild to see an entire show of completed Rembrandt etchings and studies in the middle of nowhere.