Review

To be able to research an artist, genre, or process in depth, without having to deal with a lot of administrative red tape, is pretty special.

This terrific show feels like a private walk-through of the artist’s own sketchbook.

Altering her appearance to draw from a deep well of informed imagination and fierce and graceful determination, the artist floats in space as a character emerges from her mortal force.

This is a quietly furious show with just a lick of humor, a charming presentation, and a bitter finish.

Rahbar creates an ironic commentary on security being as much a human construct as any national border.

Smolleck has an incisive and warm eye. He sees both the splendor and the silliness of regalia, religion, ritual — and the reality of death and the illusion of time.

With the seats intended to be filled by the viewers, Martin is creating an opportunity for us to engage with a community of black women that have impacted her life.

Owens employs a large arsenal of techniques and media, but painting always comes out on top. 

One could be forgiven for having skepticism about this show due to its popularity.

McMillian’s elegiac works remind us that America’s current situation stems directly from unresolved original sins that go back generations, even to the country’s founding.

Of all of 'Immersed' installations, Sauter’s is the highlight — dazzling and unsettling, truly immersive and dislocating.

Nat Bradford and Tsz Kam team up to form a collective set of work, linking humans and animals through their primal desires. 

Some 200 vintage photographs, artifacts, and recordings from the Center’s expansive theater history collections bring into focus the amorphous, sprawling mega-genre of American entertainment called vaudeville.

While nothing is happening — a group of people are waiting for something — time is passing. A narrative is therefore implied.

The solo exhibition has become an apt moment for reflection on the artist’s legacy.

In an age of relentless, braying defenses and assertions of grotesquely 'fixed' concepts, Jiménez's and Cabrera's works say: "No, this is not the world, this has never been the world."

Molloy often works in precisely this way, employing a clever economy of means to manipulate our apprehension of images to which we would otherwise not give a second glance.

The strength of the show lies in the associations, references, and stories coiled in the works, like sleeping snakes.

This is the best exhibition of Altman’s work I’ve seen to date, partly because her art works especially well when it’s in dialogue with itself.

“Texas painters and sculptors saw themselves as avant-garde artists in the pursuit of identifying a truly American art."