Review

This summer group show presents a timely visual conversation.

The museum's current exhibitions of two Texas contemporary artists reiterates its love for detailed work and painstaking methods.

This is one of best exhibitions of Old Masters to tour the U.S. in recent decades, and the Kimbell Museum is one of only two U.S. venues.

The show is stunningly beautiful one-quarter scale reconstruction of all the works in a legendary and elusive Dwan Gallery exhibition.

While the images may appear tame today, they very much defied the cultural decorum of their time and place. 

Everything is made of the same matter and light. This is elemental painting.

Why is viewing art through glass windows better than on a screen?

The revelation about George Floyd's time in Houston has completely upended my perspective on "Slowed."

These rocks are repositories of eons of natural forces, and are understood as “embodiments of the dynamic transformational processes of nature.”

The three shows use the tactility, dimension, and heft of their objects for narrative immersion.

Latin American voices became the epicenters for powerful, far-reaching intellectual projects in the mid- to late-1920s, like the Peruvian magazine Amauta.

Smith’s paintings can re-educate weary eyes.

It is fascinating to see the skeleton of such an awe-inspiring work in the form of drafts, notes, and marginalia. 

Common Field had to achieve a hard pivot quickly, and with programming that entailed a lot of moving parts, so to speak. We appreciate the effort that went into this year's convening.

Spinning like a storm, Montgomery's show cycles us through our love affair with cultural memory and collective consciousness, as well as its perversion. 

Cast against the modern, urbane anarchism of Duchamp, Bacon is a wild-eyed wilderness prophet.

While the pandemic was certainly not a part of the conceptual planning for the show, it has become a major protagonist in the unsettling timeliness of the exhibition itself.

While we think we are the hero of our own movie, we're actually merely one villain of many in a rogue’s gallery that just drifts on and on, like a steadicam tracking shot.

Many of us think this is finally the time we will complete our Major Project. I suggest a more modest goal: watch art films you were too tired or busy to watch in the past.

Renner, like Tinguely, not only makes use of cast-off materials; he loves them.