Bringing It All Back Home reveals that Patrick Kikut is an unsentimental explorer of the West, manifesting an intrepid curiosity and respect for the land through which he moves.
José Villalobos’s exhibition Fuertes y Firmas at Big Medium in Austin defiantly extracts beauty from brutality.
Curated by Erin Joyce, the small-scale exhibition at ASU Art Museum posits big questions about art and craft, resistance and identity.
Donna Zarbin-Byrne’s solo exhibition at Arts Fort Worth immerses viewers in fantastical representations of ecosystems from Texas and Hawai’i in the wake of climate crisis.
Tiny Tree, Kelly Lynn Jones’s second solo exhibition with The Pit in Palm Springs, celebrates the harmony of the natural world, bringing light and texture into focus.
Jaune Quick-to-See Smith provokes conversations about Indigenous peoples and transforms the contemporary art canon with her long-overdue career retrospective.
Mythopoetica: Symbols and Stories at the Palm Springs Art Museum fuses past and present to imagine a future for the inland Southern California region.
If the Sky Were Orange: Art in the Time of Climate Change looks at global warming with a right brain/left brain lineup of scientists, journalists, and artists.
Ellen Berkenblit’s exhibition In Motion at Tamarind Institute surveys the New York-based artist’s continuing collaboration with the renowned lithography workshop in Albuquerque.
While many of the figures in UMOCA’s A Greater Utah are familiar, the ambitious scope of the project allows for new perspectives outside of the state’s metropolitan center.
Jared Steffensen: Nosey Taily and the Leftover Review Features Sculptural Transformations from Busted Skateboards
Jared Steffensen, a Salt Lake City-based artist and curator, repurposes broken skateboard decks into enigmatic, nearly inexplicable sculptural artworks in the Current Work exhibition Nosey Taily and the Leftover Review.
Denver artist Trey Duvall combines digital, mechanical, manual, and natural tools in order to explore a multitude of concepts in his durational installation RETURN/SWEEP.
If you can find it, Wyoming’s uranium mine ghost town Shirley Basin will surprise you with a treasure trove of eclectic art from Hyperlink and Land Report Collective members.
Jammie Holmes’s first solo museum exhibition celebrates the lives of everyday Black folk while continuing the rich tradition of Black figurative painting.
Although the thematic connection feels strained, the pairing of works by Kheng Lim and Colour Maisch creates a visually rich and compelling exhibition that invites us to relish process and material.
I Am Not Your Mexican at Ruiz-Healy Art in San Antonio explores how Mexican and Mexican American artists have expanded the limitations of Post-Minimalism.
In Goodnight Moon, Rachel Rose’s ambitious and deeply researched work opens multiple tiny entry points into vast stories of past and future days and ages.
Trinity: Legacies of Nuclear Testing—A People’s Perspective at the Branigan Cultural Center in Las Cruces, New Mexico, showcases the work of seventeen artists to shed light on nuclear injustice.
The meek, reverent sculptures of Marguerite Humeau’s Orisons puncture 160 acres of unusable potato farmland in Hooper, Colorado, offering healing to a sandhill crane nesting ground undergoing megadrought.
Handmade Readymades: Tamara Johnson’s Kitschy Kitchen Imposters in House Salad at Lora Reynolds Gallery
Tamara Johnson’s exhibition House Salad at Lora Reynolds Gallery in Austin examines the absurdity of daily domesticity with mass-produced kitchen items turned into one-of-a-kind sculptures.
Hazel Larsen Archer was a luminary yet underrecognized photographer and educator who inspired countless others, celebrated now at the Center for Creative Photography along with her student, Linda McCartney.
In Designed to Move, the microscopic is magnified in Taylor James’s photographs of Colorado Plateau seedpods, revealing a design intelligence humans can only hope to approximate.
Modern Desert Markings at the Barrick Museum of Art in Las Vegas showcases contemporary takes on classic Land Art works by Michael Heizer, Walter de Maria, and Jean Tinguely.
Language in Times of Miscommunication presents work by eighteen artists illuminating the mercurial interplay between opinion, fact, and fiction.
This Blanton Museum of Art exhibition highlights how day jobs feed art practices by providing artists with materials, production methods, and ideas.
“Sorry about this”: On Sam Grabowska’s psychotherapeutic virtual installation Intake at Understudy, Denver
Sam Grabowska’s psychotherapeutic virtual installation Intake, on view at Denver’s Understudy gallery empowers participants to choreograph uncomfortable intimacies and thereby find solace.
Many Wests: Artists Shape an American Idea explores the erasure of Black, LGBTQ+, Indigenous American, Asian American and Latinx culture through contemporary art.
Abstraction in Albuquerque: Six Artists at the Inpost Artspace—more than a half-decade in the making—materialized after a co-curator spotted a 1991 poster inside of a now closed warehouse.
At SITE Santa Fe, Mexican artist Pedro Reyes proves that sometimes sculptors can both make activist statements and focus on sculptural fundamentals, with stunning results.
Breakthroughs: A Celebration of RedLine at 15 at Denver’s Museum of Contemporary Art showcases the forward leaps of eighteen artist alumni from RedLine Contemporary Art Center’s residency program.
Perplexities acknowledges complexity and the unaccountable and meets it with one kind of certainty: deeply considered and well executed art.
Desert Mirages: Desert X 2023 Attempts to Engage Problems Facing the Coachella Valley, With Varied Results
Ambitious as always, Desert X delivered on its promise to diversify its pool of participating artists—at the expense of conceptual coherence.
Textile artist Paolo Arao explores queerness through his materials, line work, titles, and forms in his show A Selection of Recent Works at David B. Smith Gallery in Denver.
Vision and Sound brings work by African American artists in Arizona to the overwhelmingly white town of Sedona.
Mesmerizing Flesh, Tamara Kostianovsky’s exhibition of textile sculptures, encapsulates a compelling, if harrowing contradiction between industrial violence and the beauty of corporeal and organic forms.
Ecstatic Land at Ballroom Marfa proposes an expanded definition of the landscape genre by assembling a transgenerational group of artists for this exhibition and film series.