Patrick Marold: The Windmill Project at Ent Center for the Arts in Colorado Springs firmly lands on contingency, environment, and illumination.
In Imminent Archive, George Bolster and Dong Kyu Kim exhibit exquisite textile works that examine time, displacement, and the human search for home.
A large-scale collaboration between Marie Watt and Cannupa Hanska Luger, both long invested in community-sourced artmaking, takes the spotlight in Each/Other at the Denver Art Museum.
Another World: The Transcendental Painting Group: 1938-1945 at the Albuquerque Museum surveys the New Mexico group that dove deep into abstract painting to create pathways to spiritual enlightenment.
Dust Specks on the Sea: Contemporary Sculpture from the French Caribbean & Haiti at 516 Arts, a rare exhibition for the Southwest region, explores Caribbean identity in the face of colonization
Shonto Begay: Eyes of the World and Indigenous Women: Border Matters at the Wheelwright in Santa Fe foreground connections to place.
Eileen Roscina's installation at BreckCreate challenges sentiments about memorials in our pandemic-informed world.
At Asia Society Texas Center in Houston, Hong Hong’s massive, experimental paper works fuse nature, craft, painting, and the sublime.
Sallie Scheufler curates compelling works by contemporary Albuquerque artists in celebration of Richard Levy Gallery’s thirtieth anniversary.
Egypt at Santa Fe’s 5. Gallery captures the intersection of modern photography, middle-class tourism, and the allure of pharaonic monuments through the legacy of Jean Pascal Sébah.
Laura Shill’s Future Self Storage at Denver’s Leon Gallery features 9,000 feet of pink and red tubes that combine humor with heartache and the sensual.
Nancy Flemings’s exhibition Good Will Prevail at Axle Contemporary uses domestic textile kitsch to evoke the home-feels of pandemic life.
Jason DeMarte's Trappings of Arcadia at Denver’s Rule Gallery addresses the clash between nature and artificiality.
May Stevens’s retrospective at SITE Santa Fe showcases a selection of her politically charged yet personal paintings and prints that display her ability to embody her conviction in a variety of styles and themes.
Texas artist Xxavier Edward Carter uses the anonymized debris of financial transactions and sales pitches as his canvases for the debut exhibition at Cluley Projects.
A look at iconic printmaker José Guadalupe Posada and Albuquerque Museum's current exhibition of his work.
The virtual-reality installation Carne y Arena, the brainchild of acclaimed director Alejandro G. Iñárritu, is an unforgettable twenty minutes of walking in migrants’ shoes at the U.S.-Mexico border.
Esphyr Slobodkina: Six Decades of Groundbreaking Painting, Collage, and Sculpture at the LewAllen Galleries in Santa Fe is a window into twentieth-century abstract art by one of the movement’s early pioneers, Esphyr Slobodkina, a versatile and prolific New York artist. A cofounder of the American Abstract Artists group, she translated the concepts of European Modernism into American idiom.
Indelible Ink displays pieces by nine multigenerational Native American printmaking women whose artwork stuns with originality, beauty, and color, while also illustrating the historical trauma that impacts Native people today.
Yōkai: Ghosts & Demons of Japan at the Museum of International Folk Art spotlights the Japanese folk art tradition of yōkai, which depicts paranormal beings such as ghosts, demons, and monsters in a variety of settings, ranging from traditional kabuki theater to Pokémon anime.
The provocative work of Francesca Woodman, an art photographer who took her life at only twenty-two, takes on new dimensions in Portrait of a Reputation, an exhibition at MCA Denver that combines Woodman’s experimental work from the late 1970s with candid photos of the artist by her friend, George Lange.
We, The Masses: Here, the men—drawn in mind-blowing detail on palimpsest-free surfaces—engage in unhinged activity, ranging from gnawing on tree bark to fighting with one another. Some men hug en masse: they seem to know that O’Neil is about to hit the go button on the apocalypse...