Courtney McClellan reviews the guiding perspective on aura and calling upon the archive in The Space Between Looking and Loving: Francesca Fuchs and the de Menil House at The Menil Collection, Houston.
May Howard reviews Sindhu Thirumalaisamy’s concrete stories, alongisde a collaboration with multimedia artist Ahimsa Timoteo Bodhrán, at Aurora Picture Show, Houston.
Merin McDivitt reviews Southern Grammar, an exhibition exploring the Black Southern experience in the work of three contemporary artists at Ella West Gallery, Durham.
Heather Bird Harris reviews Mona Bozorgi and Tokie Rome-Taylor’s dialogue of alternative image-making in from within, so together at Swan Coach House Gallery, Atlanta.
Rosa Boshier González reviews the relationship between natural materials and the attention of a human’s touch in Olga de Amaral at Institute of Contemporary Art, Miami.
Justin Chance reviews Making Connections, an exhibition showcasing the Weatherspoon Art Museum’s permanent collection and highlighting the contributions of Greensboro community members in shaping the museum.
Quinn Foster reviews the revolutionary healing found in Ritual Rest, an exhibition and performance ritual by Maaliyah Symoné at The Front, New Orleans.
Merin McDivitt reviews Asheville’s Blue Spiral 1’s Outside the Lines, where artists adopt an irreverent approach to surfaces, creating overlapping layers of meaning through unexpected textures and lines, as well as revelations of color and contour.
Noah Reyes reviews the archival and contemporary reunion of family found in the photographs of Brayan Enriquez: Like Hills Made of Sand at Atlanta Center for Photography, Atlanta.
