Review

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.

The show's theme serves as a curatorial excuse for presenting new and compelling work together in the same room — and sometimes an excuse is all one needs.  

This show is bracingly unsparing and unsentimental.

The Dallas artist's single-channel video I Heart Micah is most positioned as a particularly Dallas story.

The show of 1990s fashion at the McNay in San Antonio makes me wonder if, even as the digital revolution has sped things up, our collective progress has slowed tremendously.

Back rooms in galleries are difficult spaces for artists. Always cul-de-sacs, they are usually the smallest spaces and contain work by either the young and up-and-coming or by artists who…

What makes the exhibit unique is that it moves beyond Day of the Dead as tradition to include artwork that explores death in Mexican folktales and the interplay between the sacred and the secular.

We can be taught to understand the world in new ways, starting with how we understand art.

The obvious connection between Larkey's formal play and language are the echoes of text — the line from written language rerouted into sensory objects

The work, commissioned by the Nasher, broadcasts recorded testimonies, primarily from women describing the positive attributes of the sperm donor profiles they’re perusing from a sperm bank.