Hervé Télémaque's exhibition A Hopscotch of the Mind at Aspen Art Museum provides a career-spanning overview of a unique artistic voice dedicated to diverse materials, forms, and media.
Between Life and Land: Material at Kimball Art Center stuns not by virtue of its star artists, but from those that highlight the wonder and horror of our natural world.
The group exhibition Entanglements looks at the many ways humans impact the environment, revealing a tangled and often fraught web of relationships with nature.
Outriders: Legacy of the Black Cowboy at Harwood Museum of Art in Taos normalizes the Black cowboy past and present.
The centerpiece of Nima Nabavi: Visiting is the intricate geometry that he practices, letting the silent slide of his pens continue their daily run to infinity.
Esther Elia: Diasporic Deities reimagines ancient Assyrian goddesses with attention to how they have evolved apace with their diasporic peoples.
Kiah Butcher: Still Theatre, a video-based exhibition in Denver, engages the history of Renaissance portraiture in both playful and critical ways.
I Like You, Erin Burrell’s colorfully irreverent exhibition at HeyThere Projects, upends the core tenets of masculinity in one fell swoop.
American Framing, a Palm Springs Art Museum exhibition by Paul Andersen and Paul Preissner, contemplates the pillars of American architecture.
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.
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.
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.
Petra Cortright Displays Traditional Pieces Distilled Through Newer Media at Palm Springs Art Museum
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.
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.
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.
Anuar Maauad’s project brings up a question born of our contemporary political context: who controls one’s body and its off-shoots?
Cannupa Hanska Luger melds past and future in an Amarillo Museum of Art exhibition that pays tribute to millions of massacred Plains bison.
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.
Meggan Gould’s slow photography emphasizes the ephemeral nature of the moment in Happy Time, Doomsday Time.
Masha Sha’s drawings are made in stillness alternating with something like fever, with words built of lanky linear planks unfolding at angles.
Thoughts on Language in Self-Determined: A Contemporary Survey of Native and Indigenous Artists at CCA Santa Fe
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.
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.
Connections With the Land in Works by Kim Arthun, Michael Bisbee, and Judy Richardson at Exhibit 208
Kim Arthun, Michael Bisbee, and Judy Richardson are New Mexico artists connected by their engagement with land and landscape at Exhibit 208.
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.
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.
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.
Flagstaff artist Shawn Skabelund explores ecological and cultural destruction using materials gathered from forests in his exhibition at Coconino Center for the Arts.
Working across performance, printmaking, video, and Native ecological practices and philosophies, Desert ArtLAB cultivates and nourishes Indigenous agriculture through a Chicanx lens.
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.
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?
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.
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.
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.
Hills Snyder entered the multiple spaces of Jeffrey Gibson: The Body Electric in daylight, but left in a twilight state.
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.
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.
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.