Review

Some people are simply wittier than others. Zhang's show clicks as a study of ridiculousness and exasperation at being alive, being human, being flightless.

The popularity of Dan Lam’s work has soared recently due in no small part to the artist's presence on social media.

Still ecstatically proud of his work, Werner Herzog promises the audience, “You can expect that I’m gonna do these things as long as there’s breath in me. I will stop only if they carry me out in a straightjacket.”

A show of works by African-American artists in the collection opens the museum to accusations of perfunctory curatorial affirmative action.

The visual effects of Rosmarin's paintings seem to be to be almost a byproduct of her need to create an orderly universe.

I know that the average visitor to this show is seeking the nostalgia and sense of wonder associated with Coney Island than looking at its underbelly and contemporary relevance. I saw both.

Rigorous, personalized photography like Blakemore’s could not be more important than it is today.

Smith’s drawings present a modern mythology, a cautionary tale against a life lived without balance.

What’s made Frank Stella a household name many times over isn’t necessarily what makes him important.

In order to accept any of the projects and proposals in McFadden's presentation you must first accept the premise that artists deserve to make a living making art. They don't.

Fragments suggest a collection of things seen without bothering with the order in which they were seen before they found their way through Morrow’s Prismacolor onto paper.

All three of the artists' shows at Artpace work with the collapse of art into other facets of life. Time off is time to work

'The X Files' and its tagline “I want to believe” seem pertinent here.

Christina Rees takes us through her favorite show of the summer.

Have your camera ready, because that's the prize: the proof that you saw, more valuable than the seeing itself.

It’s the best Big Show I’ve seen. What happened?

In spite of its subject matter and tone, there is no pitch-black heart in Morris' latest. Instead, we’re offered a serene and absurdist-lite take on the banal that asks audiences to come as they are and unpack as they please.

The artists in THREE use considerable wit and pathos, and all of the work in the show is meant to address our current political climate.

If you're looking for a joyful or celebratory exhibition about queer issues, you won't find it here.

Three things attract me most to July’s work, and she hit on them in the Dallas lecture: her refusal to reduce her work to a specific medium or genre, her enigmatic and very flawed characters, and the element of interactivity with real people to activate her work.