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If anything, the populations of most Texas cities, and along with it the populations of artists, are increasing, but the number of more traditional galleries with traditional business models feels stagnant.

A five-member selection panel chose Wilson for the plum job at the end of October. Last Thursday, HAA took it back.

For your casual weekend perusal, if you wish, here is a set of quick responses I had to some (though not all) of the shows I saw in London last week.

Chitchat on E.A.S.T., Houton Artcrawls then and now, One-painting shows, Marclay's Clock, and Peter Ligon vs Fairfield Porter.

The wall text welcoming viewers to the exhibit begins with a quote from Testino where he states, “…when a country loses the connection between its history and its traditional dress, something truly precious is lost."

During my years at SAMA, I marveled so many times as I witnessed Latino high school students with eyes glued to Alvarez's work. For many of them, it is their story too.

For Pomara, experiencing a painting as an imaginary window has been replaced by the experience of looking at a screen: computer, TV, smartphone, or tablet.

The remains of sea urchins and lost vinyl LPs become memorials to lost signals, disappearing space probes, fading heartbeats in Dario Robleto’s installation at the Menil Collection.

You've just spent a week installing your show at a nonprofit art space and you realize that everyone helping you, from the director down to the part-time preparator and the gift shop clerk, is getting paid for his or her time, and you're not.

Being a guest in someone’s home means entering another culture.

Those who complain about the art world have some choices: 1) Accept things as they are and keep playing; 2) Collect your chips and in the words of Eric Cartman say, “Screw you guys, I’m going home,” or 3) Change the game.

The 1972 Games in Munich will forever be associated with the massacre of eleven Israeli athletes who were kidnapped and murdered by the Palestinian terrorist group Black September.

These five works are just a small sampling of the biennial based on what I could see in a day and a half.

I'm not that interested in radio-controlled drones, high school robotics, or 3D printers. What interested me at last weekend's Mini Maker Faire were the Makers.

If Texas had a pavillion at the Venice Biennale, this is the kind of thing I would put in it.

For its 27th year, the festival spanned two complete weeks held in five different venues throughout Dallas, and this strategy (as opposed to all the screenings in one venue) evidently draws upon different audiences and boosts overall attendance.

For the first time since . . . ever, the CAMH has chosen younger, local artists for serious, solo shows in their main gallery.

As befits a young artist putting together her first museum show, which is also her second solo show, Debra Barrera gives it all she's got.

Donnett's big, dimly lit black room is populated with objects heavy-laden with symbolism. Ominous and funerary.

The show presents us with models and renderings — evidence of their value — as well as possible, but the case remains open until the work is built.