Review

Every artist in this show is a master of their material, and the work is cle-e-e-ean, playful, spooky, and serious all at the same time.

When confronted by an artist like Newsum, whose work is filled with deep, personal magic, it seems miraculous that this nice, mild-mannered professor has produced it all.

Iva Kinnard's sculpture's pairing with Christina Macal’s paintings is important and mutually beneficial.

Such dense subject matter is heavy lifting and Abney carries it all with aplomb.

I'm rooting for the future of Taoka's work; let’s see how far he can take these compositions to insinuate or push against the notion of 'representation.'

Comprised of works — many previously unseen in the United States — from nearly two dozen institutions and private collections throughout Mexico, this exhibition in San Antonio is a stunning assemblage.

The keynote speakers at this year's Texas Sculpture Symposium embrace the gray areas thrown up by human behavior through the wide, long lens of conflict.

What’s most moving about the exhibition is the shared lineage of finding something compelling in the natural world, and shaping it to our desires.

These two shows do not feel 'contemporary' but rather timeless, pondering old things that answer through existing.

Although it is a Hopi gaze that guides the mural, the commonalities of its story invite visitors to consider the corruptions of our past, and pathways to the future.

The 16 images in the exhibition offer a compelling view of life for the black residents of Central Texas from the early 1940s to the early 1960s.

The problem with the work (and the Moody Center’s declaration of conceptual rigor) is that it relies too heavily on the amount of research and the time it took to make, rather than its result.

Historic waterways in San Antonio and Austin are the settings of ongoing improvement and restoration projects that include components of contemporary art.

It’s exciting to see the conventions of exhibiting and selling art messed with with such a confident swagger.

The violence that we enact upon each other, re-contextualized by a viewer as not only non-threatening but as photo-op decor, is a pretty heavy way to ponder aggression and suffering in the chronic sense.

An exhibition in Fort Worth brings overdue local attention to the city's artist McKie “Mac” Trotter III on the centenary of his birth.

I wonder how many of the artists in this show really just wanted to drive a big truck through the plate-glass window that overlooks the pool. “There’s your art. The house looks better already.”

A fruitful collaboration results in these tapestries, each of which really do seem to encompass a whole vibrating universe.

Many of the paintings have a gauzy logic just out of reach.

This curated selection of work represents the photographer's personal walk back through the history of his life, his family’s lives, and their deaths.