Claire E. Dempster charts connections between textiles and time, weaving and mythology in her review of Sonya Yong James’s solo exhibition “Loud Magic” at Whitespace in Atlanta.

An exhibition responding to Jungian theories about symbolism and the unconscious collects artifacts and artworks from across two thousand years of human history in Nashville.

Artist Tina Dunkley employs a visual form of critical fabulation to reconstruct the lives of her ancestors who fled the United States for Trinidad in the early nineteenth century.

Margaret Jane Joffrion considers two exhibitions of paintings in Nashville, revisits a poem by Emily Dickinson, and wonders if bugs can be saints.

Ade J. Omotosho reflects on the history of the Black male nude, tracing the fraught influence of Robert Mapplethorpe on generations of queer photographers.

Maria Britton unpacks the dense, vividly rendered paintings in Jennifer Meanley’s solo exhibition “Everything I Can Fit, in a Dream-Pod” in Chapel Hill.

As glo’s movement artists activate the campus of the High Museum of Art, TK Smith reflects on their potential to disrupt institutional power dynamics.

Contributor Coco Klockner considers echoes across time between residents of the same Richmond house in Corin Hewitt’s exhibition split between his home studio and the ICA.

BA contributor Orion Wertz reviews “RAUCOUS” at Lyndon House Arts Center in Athens, Georgia.

BA contributor Ade J. Omotosho considers Afro-Brazilian artist Paulo Nazareth’s material and historical excavations in his solo exhibition “Melee” in Miami.

BA contributor C Klockner sees anxiety and ambivalence beneath the candy-colored surfaces of Andrew Woolbright’s hybrid creations in his solo exhibition “Expresso Your Depresso.”

BA contributor Madeleine Seidel considers the commodification of self-taught art and paintings by Mississippi painter Mary T. Smith on view in New York.

BA contributor TK Smith finds beautiful images collapsing over a vague conceptual foundation in Alex Christopher Williams’s solo exhibition at the Gallery | WISH.

Joe Nolan reviews “Texturextra,” the last in a series of two-person exhibitions presented across Tennessee by Locate Arts ahead of the inaugural Tennessee Triennial in 2021.

In the first comprehensive survey of his works, Louisiana-born artist Keith Sonnier is celebrated as a pioneer of postminimalist neon sculpture at the New Orleans Museum of Art.