Review

A lot of us, maybe all in our ways, are trying to save ourselves or each other.

Whatever you may say about the work itself, Otero is hustling the art game for all it’s worth.

Here’s to a very uncomfortable 2017.

The four artists here express their ideas and feelings more in code—something that is inherent to the language of abstraction.

The whole show is a good inside joke about what painting and sculpture are.

Henry has developed a personal approach to image making that is grounded in the history of landscape painting, and is concerned with contemporary questions about painting’s possibilities as a form of communication.

I was more exhausted after one day of art viewing in Miami than I was after a full five days at Disney.

The show avoids a decisive position on the role of narrative by offering a selection of works with the potential to tell a story—or to tell a potential story. That potential is elusive.

The Beat artists, in their time, were something the establishment really didn’t know what to do with.

I just spent the last week in both Los Angeles and New York, and saw a lot of art.

The work is always about Texas, even when it isn’t.

It’s a relief to know that artists like Vasquez are carving out time to contemplate a world of beings that are too often invisible and insignificant in our daily political decisions.

What is a committed, black activist artist to do about sharing a name with the Pollyanna blonde girl who was in the movie Singin’ In The Rain?

The foundational images that are at the heart of Malone’s work carry a sense of the eternal forces that made them.

The Amon Carter's exhibition of the ongoing collaboration between Richard Misrach and Guillermo Galindo is designed to represent a journey.

Fontenot’s explosively celebratory, ultra-queer vaudeville of an installation and performance at Conduit is a gleefully raised middle finger. We should follow suit.

The embattled institution's current exhibition features works by 21 San Antonio-based Mexican and Mexican-American artists who examine what it is to be in the grey area between two cultures.

Given the cultural climate towards women these days, Joey Fauerso’s show could not be more timely. It sits somewhere between a play date and a crime scene.

Now in its fifteenth year, the the annual East Austin Studio Tour has become a cornerstone of Austin’s cultural scene.

Here I sit, with the responsibility of finding meaning in Degas one day before a presidential election. This is a tall order, but I’m Darwinian about art.