Review

While the artwork certainly benefited from its handsome setting and thoughtful installation, many pieces also stood easily on their own.

In my defense, most overtly political art stinks.

Nina Hartman is the kind of thinker who fits right into the world of Farewell Books, and her aesthetic is easily connected to her experience as a zine maker.

The iconic 1966 image Standard Station by Ed Ruscha sets the compass at Regarding Ruscha at the McNay Art Museum.

Maybe this is not such a strange place to look at art after all.

Imagine replacing the giant sculpture of Lincoln in the Lincoln Memorial, but leaving the outline of the original piece on the floor.

Engelstein’s drawings can come off as stubborn and rigid, but give them time: soon they will warm up and start telling some pretty odd and particular stories.

A telling image of a young Doug sitting on the bumper of a 1941 Buick Roadmaster holding his Gibson ES175: he’s already brimming with confidence and charisma — He knew he had it.

Together, SOFA Gallery, Ruggiero, Wick, and this exhibition embody the hope and the drawbacks of contemporary art in Austin.

Photocollages in the ancient tradition. I wouldn't have believed there was another rabbit to be pulled out of that old hat!

The Galveston Artist Residency made an interesting curatorial choice in pairing works with actual plants. The plants made more sense with some work than with others.

John Atlas' retrospective at Houston's Art Car Museum closed on March 28, but, with luck and maybe persistent nagging, we will be able to check in on him again in less than 26 years.

The painting range from loose and funky, almost alien-looking collages of lawns and hedges to photorealistic snapshots that capture a particular sunny California day.

The back and forth emails and exchange of files of information over 4,000 miles of separation forced a creative constraint that was serendipitous for both artists.

Sometimes a sandwich is just a sandwich, Dr. Freud.

Cities cling in perpetuity to a hometown boy made good. Mel Chin left Houston in 1983, and was clearly influenced by the time he spent in our diverse, surreal and polluted swampland.

It's as if the gallery was shedding its skin at the command of someone's fairy godmother, but the effect isn't as vivid as it could be.

Nature and culture constantly collide in Walker and Wellen’s Galveston exhibition – much like the terrain of the barrier island itself.

El Pastor's context is Juárez. His paintings aren't so much about indignation as they are about anguish for his narcotics-destroyed city and serve as means for viewers to share in the pain of that destruction.

Texas Gallery has had a great string of painting shows recently, the latest treat is a roomful of Christmas puddings from nascent art star Jeremy DePrez.