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Today, the famous cave is a traveling exhibition, now at Houston's Museum of Natural Science.

Houston artist Tony Day believes in freedom. Not bald-eagle-laser-etched-on-your-Ford-truck-‘Murica freedom, but freedom of expression. Day is a Yosemite Sam for the creative process.

Peña embraces the artist’s endemic dissatisfaction: each work is only the latest, less than perfect, attempt.

Tom Sale shapes a wonderful pastiche about the life of Florence Nightingale to meet his personal, obsessive needs.

Chris Sauter, like Jesus, invites you to stick your hand in a hole. His inter-related projects examine the false dichotomies between religion and science.

Berni’s works explode with an unabashed, visceral materiality, and raise questions regarding the construction of artistic canons, both in Latin America and beyond.

SonicWorks is uneven, but is saved by materials documenting DiverseWorks’ pioneering sound art presentations in the 1980s and 90s.

It’s no great leap to use cardboard to make tree rings, or speaker wire to weave baskets, but Stanley's sensitivity and care go a long way towards making them great.

When White Rock Lake Weekly published an article entitled “Art? Or an eyesore? City set to decide,” it prompted some serious folks in the Dallas art community to speak up.

In which Dave points out the constraints of identity art at universities, galleries, museums and other bastions of hell.

In which Dave bemoans the administration of art history, the permanent reign of postminimalism, and bad social-content art. Heckler at 14:50!

Part 2 of 4, in which Dave eulogizes the undergound of the late 60's and early 70's, explains how everything has gone wrong with the artworld since.

Critic Dave Hickey begins by dissing Glasstire, Texas, Houston, stupid liberals, and Rice University, then goes on to the futility of the NEA and alternative art institutions.

We are falling for a media-induced war between evolution and creation. This soapbox is all Chris Sauter’s fault.

With only two or three inches between each work, the exhibition doesn't exactly lend itself to parsing, but it's a show about transition: from where the gallery has been to where it is going.

Forgive me, Father: I paid $20 to have my artwork in a juried exhibition with 30 other depraved artists. I did so with full free will and knowledge of my actions and know this is a mortal sin.

Despite the randomness and repetitiveness, the body hair and the cheesecake, it looks like fun.

The vision of chaos that greets the viewer at the door strongly asserts Pruitt's unwillingness to supply more of his popular drawings without some conditions.

Glasstire first-responders fish valuables from the onrushing flood of Spring Art Activity across Texas!

A 30-year veteran of Conceptual art has called Austin home since 2006. Co-Lab has staged a museum-worthy mini retrospective.