-
2 weeks ago | 
southwestcontemporary.com | Lauren Tresp
Environmental artist Stacy Levy brings Santa Fe’s lost acequias back to life with Missing Waters, a temporary chalk water map installation at the Santa Fe Railyard April 25-29, 2025. Stacy Levy: Missing WatersApril 25–29, 2025Santa Fe RailyardIt’s hard to believe in the midst of persistent drought, but Santa Fe wasn’t always this dry. In the early 20th century more than forty acequias snaked through the city, providing sustenance for gardens and crops and riparian habitat for wildlife.
-
1 month ago | 
southwestcontemporary.com | Lauren Tresp
Discover nineteen contemporary Native artists’ works at the Museum of Indian Arts & Culture’s exhibition Engaging the Future, showcasing Goodman Fellowship recipients’ creative excellence across multiple disciplines.
-
1 month ago | 
southwestcontemporary.com | Lauren Tresp
Grace Kennison, represented by Visions West Contemporary, explores the American West through a female lens, challenging narratives with dreamlike paintings examining land and identity. Grace Kennison fearlessly delves into the complexities of the American West through the unique lens of a female perspective.
-
1 month ago | 
southwestcontemporary.com | Lauren Tresp
Gerald Peters Contemporary kicks off a season of compelling shows including explorations of American narratives through diverse perspectives, trends in female pop art, a special guest-curated exhibition by Erin Joyce and Ninabah Winton, and more. Stories Retold: New American PerspectivesMarch 14–May 31, 2025Gerald Peters Contemporary, Santa FeA new group show kicks off the exhibition season at Gerald Peters Contemporary.
-
1 month ago | 
southwestcontemporary.com | Lauren Tresp |Joshua Ware
Salt Lake City–based artist Joshua Graham explores site-specificity through walking and collecting, gathering objects in the foothills above the city and reconfiguring them in the gallery. Salt Lake City, Utah | art.utah.edu/faculty-list/joshua-grahamSalt Lake City sits upon the eastern shoreline of the Great Salt Lake, while the Wasatch Range and the Oquirrh Mountains surround it in every other direction.
-
1 month ago | 
southwestcontemporary.com | Lauren Tresp |Erin Averill
New Mexico’s fiber artists at Futuros Ancestral are weaving technology with tradition to preserve heritage textile practices for future generations. Textiles have always existed at the intersection of art and technology. Cotton and wool fibers were some of the earliest known databases. Pre-Columbian Incas used knotted strings, known as quipu, for sophisticated, quantitative record-keeping.
-
1 month ago | 
southwestcontemporary.com | Lauren Tresp |Jessica Fuentes
Laredo-based artist Gil Rocha uses found objects from his Texas neighborhood and items purchased across the U.S.-Mexico border to capture the duality of the region. Laredo, Texas | gil-rocha.com | @rocha.rochelliMetal scraps, sign remnants, fencing, plastic bottles, and other discarded items litter Gil Rocha’s warehouse-like studio in the border town of Laredo, Texas.
-
1 month ago | 
southwestcontemporary.com | Lauren Tresp |Ana Estrada
Arleene Correa Valencia’s exhibition at the Utah Museum of Fine Arts reveals the indelible imprint of growing up as an undocumented migrant through personal writings, photographs, and textiles. salt 16: Arleene Correa ValenciaNovember 15, 2024–June 29, 2025Utah Museum of Fine Arts, Salt Lake CityHow would living as an undocumented migrant for twenty-five years shape your identity?
-
1 month ago | 
southwestcontemporary.com | Lauren Tresp |Natalie Hegert
Discover how Southwest Contemporary‘s Hyperlocal issue explores art that connects immediate environments to global concerns—from borderland communities to climate action. Welcome to Volume 11 of Southwest Contemporary: The Hyperlocal. We begin this issue at the Center of the Universe—Bruce Nauman’s 1988 public sculpture at the University of New Mexico, of course.
-
1 month ago | 
southwestcontemporary.com | Lauren Tresp |Natalie Hegert
Southwest Contemporary: The Hyperlocal explores art that connects immediate environments to global concerns—from borderland communities to regional myths and climate concerns. Welcome to Volume 11 of Southwest Contemporary: The Hyperlocal. We begin this issue at the Center of the Universe—Bruce Nauman’s 1988 public sculpture at the University of New Mexico, of course.
