The Archive at Low Tide: Beverly Buchanan, Dionne Lee, and the Visual Telemetry of Displacement at the CAMH
The gallery operates as a field site before it functions as an exhibition.
Jonathan Hopson
Before the Partition: Yoshitaka Amano’s Unbroken Line at Asia Society Texas Center
I am not swiping through digital images or peering into a paperback book; I am standing—as the first viewer to see Yoshitaka Amano: Big Bang at Asia Society Texas Center fully installed, where it runs through Feb. 7, 2027—in the quiet, pristine light of Yoshio Taniguchi’s architecture, confronted by raw scale, chemical reaction, and the unyielding physical friction of human labor on a gallery wall.
Three Inches from the Past: The tactical, tactile birth of photography at the Kimbell Art Museum in Fort Worth
We were both dealing with the heat when we started talking about it—I managing an overheated kid and a sudden ice-cream run in Texas, George Shackelford locked in a Massachusetts office while a carpenter yelled about framing in the background.
The Grand Calculus of Darkness: Winslow Homer’s Spatial and Conservation Mechanics at the MFAH
Watercolor is an unforgiving, fragile medium.
Witnessing the Cycle: Gabriel Martinez at the Ismaili Center Houston
I step into the Ismaili Center—opened last December on the banks of Buffalo Bayou—and the space announces its intention immediately. The light is controlled. The quiet is profound, engineered so conversation is possible, so presence can be felt.
The Haas Brothers: Cuteness as a Trojan Horse, and an Irreverent Austin Homecoming at the Blanton
How well do you know the Haas Brothers? Niki and Simon.
Collecting as a Cultural Practice: Picasso–Klee–Matisse: Masterpieces from the Museum Berggruen at the MFAH
Heinz Berggruen bought his first Klee in 1940 for reasons that had nothing to do with investment.
Day, Night, Repetition, Impossibility: Hong Hong at DiverseWorks
The black box theater at DiverseWorks' MATCHBOX 1 is dark except for four massive video projections—twelve feet tall, twenty feet wide—filling each wall.