Review

Donna Tennant reviews an exhibition of dreamlike images of hybrid creatures at Andrew Durham Gallery in Houston.

Ruhee Maknojia reviews an exhibition of paintings that takes liberties with its source material while questioning the notion of originality.

Jessica Fuentes writes about experiencing La Monte Young and Marian Zazeela’s “Dream House” in New York City.

Ruben C. Cordova writes about the new arrangement of the Met's painting galleries, which includes improved lighting and acknowledges a more diverse representation of artists, subjects, and genres.

Max Tolleson reviews an exhibition of inventive works by Cody Ledvina at Pablo Cardoza Gallery that balance humor, absurdity, and creativity.

Lauren Moya Ford reviews an exhibition that confronts pressing issues around women’s bodies, sexuality, and motherhood.

Peter S. Briggs reviews a show of photographs, videos, and sculptures that critiques the architectural strategies of detention along the border.

Neil Fauerso reviews two intellectually provocative exhibitions by Lauren Kelley and Kathleen McShane at [TXST] Galleries.

William Sarradet writes about two exhibition in Dallas at Sweet Pass Sculpture Park and the Nasher Sculpture Center.

Madison Ford revisa una exposición de imágenes que presentan el lado íntimo de Frida Kahlo.

Sarah M Vasquez traces the journey of a sculpture that was commissioned by the Friends of Ruidosa Church as it makes its way to a permanent home.

Philip Kelleher writes about an exhibition of Pueblo pottery at the MFAH curated collectively by members of 21 tribal communities.

Lauren Moya Ford reviews a show of photographs at the UT Visual Arts Center that Violette Bule created in conjunction with incarcerated Venezuelans.

Joseph Staley reviews a site-specific media and sound installation by Rachel Rossin which draws on "The Velveteen Rabbit" to address themes of transformation and loss.

Madison Ford reviews an exhibition of images that depict the intimate side of Frida Kahlo.

Anna Mayer writes on a group show of painting, sculpture, and photography by artists working in Houston.

Doug Welsh reviews a group show at LAURA in Houston of five stylistically different artists working with precarious materials.

Jessica Fuentes writes about the all-female show “She Said, She Said,” at the Arlington Museum of Art.

Sofia Penny reviews a show of works that subvert representations of traditional femininity through the concept of the "monstruous-feminine."

Joseph Staley reviews an exhibition of monoprints and paintings by Matt Kleberg at Josh Pazda Hiram Butler.