Review

'Flow' is the latest site-specific, room-sized installment in the Korean-born Ko’s series 'Forces of Nature.'

I sometimes want to like this stuff, but the line between poetic rhetoric and bullshit is just too fuzzy.

My problem here is not that the work is light and playful; it is that Ronay so casually references such immensely fraught symbolism in the name of play.

There is so much distance between the objects and their referents. Zefeldt paints that distance into punchlines.

Alexander Paulus has created a crowded installation of grotesque figurative paintings that are unapologetically in your face and ridiculously successful.

Valderas' signs wield cultural vernacular as armor in an aesthetic skirmish. They’re here to provoke.

When the characters in Peña's piece speak his words, the room takes on a certain stillness, much like the weight of witnessing someone undress for the first time, or the last.

A video review of Jamie Earnest’s show at Cindy Lisica Gallery in Houston, on view June 3rd – July 9th, 2016.

The show is completely composed of drawings, but that’s where the similarities stop.

Peacock's devil is in her details, around the messy corporeal, family attachment, prosaic signs of middle-class existence, and troubled nostalgia.

In a display of stammering unctuousness, the liberal film industry decided that a proper atonement for years of racist caricatures was to depict indigenous people as literal angels.

Artists who work in this maximalist vein know when a work is finished. It’s finished when there’s no more room to breathe.

The Smithers amassed a collection of remarkable breadth and depth, so rather than present a compendium of the whole collection, the exhibition wisely focuses on twelve artists who have much to teach us about creativity and the universal desire to communicate through art.

Salavon recognizes that when culture feeds itself into large reservoirs of data, there’s a host of new, wonderful and terrible things we can do with it.

It’s rare that a two-person show harmonizes this well.

Like all wonderfully rich cabinets of curiosities, "The Collections" rewards slow and repeated looking.

If an artist is making a time-based work, it might behoove them to work smart rather than work hard.

In its sixth year, CineMarfa continued building layers of connections upon its impressive, ongoing program through really smart and playful placement of our media mirrors.

I suppose people can marvel at what a bad boy he is, but I liked Flood’s work a lot more before I saw this show.

A viewer walks into a stranger’s room and wonders at its contents and guesses at what kind of person lives there and why they choose to live this sad garbage life.