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As Joss Whedon says: “Don’t give people what they want. Give them what they need.” Is the answer to dwindling crowds at museums really to turn the museum into something completely opposite its original intended function?

Artifacts from Sun Ra’s D.I.Y. record label El Saturn in the 1950s and 60s on view at Rice Media Center

Here, contemporary masculinity is depicted as a state of begrudging participation in a ridiculous game that lacks any living author.

Quiet, poetic, intimate — It occurs to me that paintings like these fill the void left in people's lives by the absence of books.

If a truck jumped the curb at Dallas City Hall and rammed into the Henry Moore sculpture, should your Aunt Linda then opportunistically petition to have it destroyed rather than restored, just because it doesn’t meet her definition of art? Of course not.

In his first solo exhibition, sub, at Farewell Book in Austin, Erik Shane Swanson transforms a bookstore gallery into a dizzying padded environment.

What makes Art 21 so successful is how it demystifies the conundrum of what we refer to as contemporary art.

Two Houston exhibitions share a low-key, amorphous spirituality.

Watching someone doing something weird in public demands that we cast aside our assumed notions of what is proper and what is possible.

I'm not saying that many of the works on display would not have been better left in their shipping crates, but whether dogs or divas, I'm glad they were here.

Alverson's finger-lickingly tactile bricks, bars and tubes and his leaden, gloomy colors invest simple symbols with whole operas of pathos.

Film artist Jodie Mack brings flickering patterns and her personal rock opera to Houston and Austin MONDAY, TUESDAY and WEDNESDAY!

Compared with the lardtastic Tex Mex and barbeque that pervades the rest of our city, Third ward is an oasis of vegan, vegetarian, and other restaurants offering a cornucopia of healthy options.

Art at Halftime, on the iTunes store, and in the galleries: here are three of the thirty-five things I've seen, photographed and made notes on this busy September.

Do not attempt this yourselves. These artists are professionals on a closed track.

The Houston Fine Art Fair was beyond terrible. Is this is the real international art world?

Those of us who came of age in the ‘80s walk into the show with a sometimes dread-inducing association with that time, but walk out feeling at least a little better about this uneven and unsettling moment in recent art history.

De Kooning’s corner man was the Grim Reaper and Blizard's was Frosty the Snowman.

This is real art by real working artists. The populist bent was a considered choice. The show’s remit is simply to represent each region in the nation and be a people pleaser.