José Villalobos’s exhibition Fuertes y Firmas at Big Medium in Austin defiantly extracts beauty from brutality.
Cey Adams, Album Cover Designer of Iconic Public Enemy Record, Receives the Retrospective Treatment in North Texas
The first Cey Adams retrospective displays more than four decades of the artist’s commercial collaborations with global brands and hip-hop visuals that include Public Enemy and Beastie Boys album covers.
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.
Jaune Quick-to-See Smith provokes conversations about Indigenous peoples and transforms the contemporary art canon with her long-overdue career retrospective.
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.
Exhibition by “Under-Understood” Louise Nevelson Reclaims the Late Artist’s Place in American Art History
The World Outside: Louise Nevelson at Midcentury at the Amon Carter takes a fresh look at the influential artist through a historical lens, and argues that the world shaped her.
Groundswell at the Nasher Expands the Conversation Around Land Art to Include a Multiplicity of Perspectives
Groundswell: Women of Land Art features twelve artists—some names familiar, some fresh—all working concurrently yet in the shadow of their male Land Art counterparts.
Jammie Holmes’s first solo museum exhibition celebrates the lives of everyday Black folk while continuing the rich tradition of Black figurative painting.
JD Pluecker explores the artworks of five artists in the exhibition Soy de Tejas, looking at issues of home and belonging in Texas.
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.
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.
Pencil on Paper Gallery extends the line of Black-owned galleries that trace the foundational practices of accessibility, inclusivity, and representation among art spaces in the Dallas-Fort Worth area.
La Trampa Gráfica Contemporánea in Mexico City and Familia Printshop in Dallas engage in a long tradition of Mexican printmaking. The two print shops also illustrate the power of collaboration.
This Blanton Museum of Art exhibition highlights how day jobs feed art practices by providing artists with materials, production methods, and ideas.
Luis Jiménez’s monumental sculptures are found all over the country. Why is the artist not more well known?
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.
Janette Terrazas utilizes her artistic practice to protest against water contamination in the El Paso-Juárez binational region.
Writer and artist JD Pluecker writes about the Artpace exhibition of María José Crespo and their joint trip to the border to do artistic research around Del Rio, Texas.
For this social practice collective in Lubbock, Texas, the mesquite tree has become a charismatic icon for water conservation and urban afforestation.
Gary Burnley's collages explore representation, memory, and an image’s meaning through contrast in the exhibition Stranger(s) in the Village at the Amarillo Museum of Art.
Michael Anthony García, an Austin-based artist and curator, creates installation, video, and sculptural work that explores personal questions of identity and cultivates community.
Angel Cabrales, a devotee of science, sci-fi, and his own cultural heritage based in El Paso, creates alternate worlds that are more playful than the serious and broken one we live in.
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.
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.
Trey Burns of Sweet Pass Sculpture Park explores the manufactured landscape of North Texas and its echo natures.
Borna Sammak’s exhibition america, nice place at Dallas Contemporary conceptually and materially questions popular American archetypes and the redundancies of cultural consumerism.