Karla Méndez reviews the notions of migration and materiality found in Juana Valdés: Embodied Memories, Ancestral Histories at the Sarasota Art Museum of Ringling College, Sarasota.
Danny Olda reviews the Seussian palette and cabinets of curiosities found in Pepe Mar: Myth and Magic, a solo exhibition survey of the artist at the Tampa Museum of Art, Tampa.
Margaret Jane Joffrion reviews the non-stop energy found in Insider, a solo exhibition by Halle Ballard at Elephant Gallery, Nashville.
Amina Daugherty reviews the conspiracies behind the works found in Some Believe It To Be Conspiracy and Imprints of Connection, Emmanuel Massillon’s debut exhibitions with UTA Artist Space, Atlanta.
Bianca Littlepage reviews the delicate portrait etchings found in New Forms: Black Male Portraiture through Afro-Futurism, Perrion Hurd’s solo presentation of works at Hearne Fine Art Gallery, Little Rock.
Daniel Fuller reviews the weighty fanfare of college football in Paul Pfeiffer: Red Green Blue at The Athenaeum, University of Georgia, Athens.
Valentin Diaconov reviews the internal tensions found in Flesh and Blood, the first solo museum exhibition by John Guzman at the Blaffer Art Museum in Houston.
Kat Eaves reviews the sanctity of play presented via the one day activation of Skybox by Harrison Wayne at Eso Tilin Projects, Atlanta.
Emeline Boehringer reviews AN ANGLE GRINDER GRINDS IN THE BACKGROUND, a presentation of works by Alfredo Ramírez Raymond in collaboration with artists Rafaela Armendaris, Lucas Neira, and Karin Iturralde, that was on view at Coco Hunday in Tampa.
