Review

Peter Briggs reviews a show of Jane Abrams's work spanning six decades of art making and charts her transition from printmaking to painting.

Ruben C. Cordova escribe sobre la exposición “Ángel Rodríguez-Díaz: The Goddess Triptych Reunited” en el Museo de Arte de San Antonio.

Brandon Zech writes about an exhibition that examined a cross-section of mid-century pulp illustrations.

Alli Rogers Andreen reviews an exhibition of monumental, Renaissance tapestries at the Kimbell Art Museum.

Christopher Karr reviews an eclectic selection of works from the University of Texas at San Antonio's permanent collection, on view at the school's Russell Hill Rogers Galleries.

Annelise Eileraas writes about a dance performance at the Moody Center for the Arts that focused on Georgia O'Keefe's time in Texas and the legendary painter’s dark years during WWI.

Sophia Penny writes about Tanaka Yu's "Tsutsumimono" a modern take on furoshiki, the art of wrapping, recently acquired by the Dallas Museum of Art.

William Sarradet writes about art and experiences he encountered during the summer months of 2024.

Joseph Staley reviews a group show collecting the work of four contemporary abstract painters recently on view at David Shelton Gallery.

Jessica Fuentes writes about Dario Robleto’s artistic practice, which combines art and science to explore humanity and history.

Kaila Schedeen escribe sobre las historias entrelazadas en la instalación pública “Depósitos pasados de un futuro aún por venir” de Hubbard / Birchler.

Brandon Zech reviews a large-scale group exhibition of artists who played Exquisite Corpse using the U.S. Postal Service.

Daniel Orr reviews a show of work by a silent film cinematographer whose art bridges modern photography and early cinema.

Park Myers writes about a group show at Josh Pazda Hiram Butler that highlights artistic collaboration and candid inclusivity.

Neil Fauerso reviews a hypnotic performance at Ranch Apocalypse in South Austin.

William Sarradet writes about two exhibitions at Ivester Contemporary in Austin and the Old Jail Art Center in Albany.

Jillian Wendel writes about a multimedia exhibition that pushes the boundaries of sculpture and responds to the architecture of the Nasher Sculpture Center.

Jessica Fuentes reviews the 2024 “Delta Triennial,” focusing on the seven Texas artists included in the juried show.

Emma S. Ahmad reviews an exhibition celebrating the 40th anniversary of Dallas’ Conduit Gallery.

Colette Copeland reviews two shows that explore the human condition and the means by which it is mediated.