Review

There is an alchemic energy in the pieces, the collage of disparate materials fuse into mysterious and enticing portals. The white walls of the gallery space become infinite.

Valenzuela's current show continues the exploration of her familial ties from her perspective as a first-generation American born to Mexican immigrant parents.

This show in Dallas explores the way three artists transform found materials through surprising and minimal interventions.

The show is both a document of Divecchia’s process, and the origin story of an artistic project.

Painted at a feverish pace, it’s as if Bernhardt is trying to outrun the banality of her subjects, stamping them onto the canvas over and over again until meaning collapses onto itself.

More than anything, this is exactly the kind of show that can blowtorch away any calcified, received ideas around the kind of art that you should be looking at.

This is not a straight polemic, but rather something more removed and elusive.

I don’t need or expect or even necessarily want the individual works I’m engaging with to want to change the world, or even try.

Finding some poetry in a Motorbunny is the kind of problem-solving puzzle I’d like to think all good artists would tackle with real intent.

CineMarfa is simply a series of unique cinematic experiences, laid out over four days in May as a montage of creative nudges and existential echoes.

They were exceptional artists and were a community of friends, and that seems like reason enough to put together this show.

“The drive to Prairie View,” both literal and figurative, is a journey many people make.

Simões’ newest sculptures at Lora Reynolds Gallery leave us with his more human and humane idea of Brutalism.

The show begins to tell the story of Modernism in a new way, and it's one we all would benefit from knowing.

His work’s jumping-off point is his deep disdain for systems—for the nuclear family, for institutions and communities and religions that we’re all pushed through in an endless gauntlet.

The show has a torque to it, an energy, like a suspension bridge.

Amado's fascination with felt has been like a slow-drip I.V. as determined by his daily engagement with process—a certain amount each day is enough when it is all you do.

'Trigger Town' is a series of huge eyeball kicks.

It is fitting that the modest yet noble Rice Gallery should conclude its run with a show that really demonstrates how much you can do with a single room.

This show echoes the vacillation between release and restraint inherent in the experience of grief, and the sense of both empathy and detachment as we encounter the grief of others.