American Framing at Palm Springs Art Museum Peeks into America’s Complex Psyche
American Framing, a Palm Springs Art Museum exhibition by Paul Andersen and Paul Preissner, contemplates the pillars of American architecture.
American Framing, a Palm Springs Art Museum exhibition by Paul Andersen and Paul Preissner, contemplates the pillars of American architecture. By Justin Duyao
Lucha Libre: Beyond the Arenas is a compelling mix of art and artifacts that elevate themes of identity, power, resistance, and performance. By Lynn Trimble
Sunsets at Everybody in Tucson is a group exhibition of 16mm video, silver-gelatin prints, and sculptural fabrications that share formally austere and technically complex approaches to composition. By Audrey Molloy
At the Millicent Rogers Museum, Southwest Reflections: Between Shadows of the Land takes an interdisciplinary and intercultural approach to the place now known as New Mexico. By Lillia McEnaney
The Center Can Not Hold—curated by Hikmet Sidney Loe and featuring works by Anne Mooney, John Sparano, and Hannah Vaughn—explores the varied meanings of holding space through architecture. By Bianca Velasquez
Petra Cortright, a Net Art and Post-Internet Art painter, bends traditional art-world genres in a solo exhibition at the Palm Springs Art Museum. By Eva-Marie Hube
From the Creek, an exhibition by artist Kiki Smith, brings the experience of the flora and fauna of the Hudson River Valley to the Albuquerque Museum. By Maggie Grimason
Gregg Deal's exhibition Esoo Tubewade Nummetu (This Land Is Ours) in Colorado Springs doesn’t sugarcoat the historic and contemporary injustices Native people encounter in mainstream American culture and society. By Steve Jansen
Anuar Maauad’s project brings up a question born of our contemporary political context: who controls one’s body and its off-shoots? By Joshua Ware
Cannupa Hanska Luger melds past and future in an Amarillo Museum of Art exhibition that pays tribute to millions of massacred Plains bison. By Natalie Hegert
In (RE)CONTEXT at the Rubin Center in El Paso, ten contemporary artists integrate text into their practices, recontextualizing and reappropriating words to create tools of social change. By Edgar Picazo Merino
Meggan Gould’s slow photography emphasizes the ephemeral nature of the moment in Happy Time, Doomsday Time. By Nancy Zastudil
Masha Sha’s drawings are made in stillness alternating with something like fever, with words built of lanky linear planks unfolding at angles. By Hills Snyder
Self-Determined: A Contemporary Survey of Native and Indigenous Artists at CCA Santa Fe highlights the work of thirteen artists exploring the present and future of Native and Indigenous art. By Caitlin Lorraine Johnson
On view in In Our Time, Arizona-based collectors Iris and Adam Singer have been collecting contemporary art by Black artists for almost two decades. By Erin Joyce
Kim Arthun, Michael Bisbee, and Judy Richardson are New Mexico artists connected by their engagement with land and landscape at Exhibit 208. By Hills Snyder
Pete Petrisko, one of the few remaining old heads in the local art scene who has lived in downtown Phoenix since the 1980s, exhibits selections from the past thirty-five years. By Steve Jansen
i know you are, but what am i? at the Utah Museum of Contemporary Art focuses on the figure to launch discussions about identity, fluidity, and body positivity. By Steve Jansen
Ho Baron: Gods for Future Religions at the El Paso Museum of Art is an uncanny blend of maximalism, surrealism, the ascetic, and the interstellar. By Steve Jansen
Flagstaff artist Shawn Skabelund explores ecological and cultural destruction using materials gathered from forests in his exhibition at Coconino Center for the Arts. By Lynn Trimble
Working across performance, printmaking, video, and Native ecological practices and philosophies, Desert ArtLAB cultivates and nourishes Indigenous agriculture through a Chicanx lens. By Emilie Trice
Two Cultures, One Family, a group exhibition curated by Dr. Erika Abad at the Marjorie Barrick Museum in Las Vegas, constitutes a cross-cultural call and response. By Brent Holmes
Visiting an exquisite private art collection nestled in the Colorado Rockies devoted to Jasper Johns, Emilie Trice wonders: is his work relevant in this day and age? By Emilie Trice
Jorge Rojas’s retrospective Material Witness at Granary Arts in Ephraim, Utah, showcases a quiet yet still tenacious side of the Salt Lake City-based artist. By Steve Jansen
Patrick Dean Hubbell’s exhibition Tack Room at Gerald Peters Contemporary in Santa Fe serves up a powerful discourse that challenges the representation of Indigenous peoples. By Erin Joyce
New MexicoReviewVol. 6 Rooted: Poetics of Place
Wo/Manhouse 2022 reconsiders the relationship between gender and domestic spaces on the fiftieth anniversary of the seminal feminist installation Womanhouse in Belen, New Mexico. By Lauren Tresp
ReviewArizonaVol. 6 Rooted: Poetics of Place
A Country is Not a House at ASU Art Museum grapples with the U.S.-Mexico border and capitalist notions of public and private life. By Lynn Trimble
ReviewUtahVol. 6 Rooted: Poetics of Place
The exhibition Air considers Salt Lake City's rising air pollution and the impacts of climate change on the environment and social justice. By Scotti Hill
ReviewColoradoVol. 6 Rooted: Poetics of Place
The Contour of Feeling at the Denver Botanic Gardens introduces Colorado audiences to immense, organic cedar sculptures and other large-scale works by artist Ursula von Rydingsvard. By Deborah Ross
ReviewNew MexicoVol. 6 Rooted: Poetics of Place
Hills Snyder entered the multiple spaces of Jeffrey Gibson: The Body Electric in daylight, but left in a twilight state. By Hills Snyder
In Denver Art Museum’s Who Tells a Tale Adds a Tail, Latin American millennial artists transform narratives rooted in collective memory and the virtual realm of cyberspace. By Emilie Trice
Urban Pop in Bountiful, Utah offers a unique opportunity to see big names, but the exhibition fails to situate artists within the movements to which the show claims they belong. By Scotti Hill
Five emerging artists explore experiences of the African Diaspora in And Let It Remain So, a Phoenix Art Museum exhibition that assesses family, home, displacement, identity, and Black representation. By Lynn Trimble
Borna Sammak’s exhibition america, nice place at Dallas Contemporary conceptually and materially questions popular American archetypes and the redundancies of cultural consumerism. By Laura Neal
In Forgotten Artifacts at Core Contemporary, Las Vegas artists, Las Vegas artists show cast-metal sculptures evoking a landscape without humans. By Laurence Myers Reese
Joey Fauerso: Wait For It at NMSU Art Museum embeds poignant metaphors in basic, somber forms to question what happens when stability is off-kilter. By Nancy Zastudil
At Sweet Pass Sculpture Park, Brook-Lynne Clark finds signs of her life on the Blackland Prairie in Big Tex is Burning, which tracks her relationship with embedded histories of Dallas. By Lyndsay Knecht
In Plein Air at MOCA Tucson, artists challenge norms in paintings, installations, and video works that confront the white gaze that privileges colonizer culture and systems of oppression. By Lynn Trimble
The exhibition Somos Southwest at Mesa Contemporary Arts Museum delivers a muted homage to the Chicano Arts Movement, primarily through works by Arizona and California artists. By Lynn Trimble
Jae Ko’s artworks at Robischon Gallery in Denver address the Southwest’s drought conditions and the rise of water speculation in the futures market. By Joshua Ware
A debut solo exhibition by Albuquerque artist and muralist Nani Chacon (Diné, Chicana) celebrates Indigeneity through storytelling and design. By Kathryne Lim
David Rios Ferreira and Denae Shanidiin collaborate in a multimedia exhibition at UMFA featuring portals to connect us to lost loved ones and heal communal pain. By Hannah McBeth
Indigenous artist Brad Kahlhamer explores nomadic existence and hybrid identity in Swap Meet exhibition at the Scottsdale Museum of Contemporary Art. By Lynn Trimble
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