Katayoun Amjadi, a graduate student of art, showcased her work at this year's Art-A-Whirl. Her ceramics celebrate familiarity while still holding secrets.

What does devotion to one’s practice extended over a lifetime entail? To painters Clarence Morgan and David Rich, each in their sixth decade, time has become compressed, with a degree of urgency about its limitations and passage. Yet both are known to, without reluctance or hesitation, revisit work done decades ago, to pick up their tools and search within both dimensions of painting and of time, of then and of now. This exhibit presents a long-time dialogue between two painters trains of thought, picked up, clarified, informed and strengthened by years of working and visiting with each other over time

When trauma occurs, the act of telling stories becomes an important tool of both remembrance and resistance. Tu nombre entre nuestras Lenguas , conceived and performed by Salvadoran-born, Cincinnati-based artist Lorena Molina, will be a ceremony for their loss. By bearing witness to a history unknown to most, participants will contribute to a shared ritual that acknowledges the long history of the United States’ implication in the affairs of other nations, displacing families and directly contributing to the refugee crisis.

Last night, HBO debuted a pop-up exhibition at a New York gallery featuring original art, video, and performance pieces created by former inmates. "The O.G. Experience" is powerful stuff and a reminder that movements for social change and policy reform are most effective when they combine all sorts of activity, from legislative work to cultural artifacts. The makers of the film and the curators of the exhibit are explicitly interested in calling for criminal justice reform and ending the drug war. Their exhibit helps to humanize inmates, convey the experience of prison, and show possibilities for redemption.

Driving South in a Mostly Straight Line is the first phase of an art exchange between Rosalux Gallery, an art collective based in Minneapolis, Minnesota and ICOSA collective of Austin, Texas. Selected by Andrea Mellard, the exhibition introduces Austin to the 20 members of Rosalux. In turn, Rosalux will be presenting the work of ICOSA collective’s 20 members in Minneapolis in May. The first exhibition of this two-city art exchange is comprised of a diverse of artmaking practices including painting, mixed media sculpture, watercolor, photography, printmaking, drawing, and collage. While 1,176 miles separate the two artist collectives, the common goal to support their fellow artists and share their community’s creative output brings them together. “One of my favorite aspects of Austin’s arts community is how groups of artists come together to just make what they want happen. I have been impressed by the way artist collective ICOSA has supported each other, developed spaces to present work, and now are exchanging art shows with Rosalux Gallery. I appreciated the opportunity to review and select for exhibition the diverse art made by the twenty members of Minneapolis’ longest running collective art gallery. I hope the Rosalux exchange introduces Austin to new artists and that their work and commitment to sustaining a creative community are inspiring.”

This short video highlights Paul Shambroom's research.

How to become lost is an exploration into the ways artists escape into the content and method of their work as a means to process, heal, and liberate–and to get closer to a truth about life in ways that cannot necessarily be seen or framed through ordinary language or experience. This exhibition invites you to be transported into the complexity and humanity of each artists’ work and world, but also poses the question of why and what motivates someone to create: asking viewers to consider the tensions of making work in a painful, traumatic, accelerated and angering climate while holding desire for artwork to be slow, pleasurable, and meaningful. Is this process futile? Are we allowed to enjoy our work? What privileges come with escapism? How important is it, or detrimental? How do we reclaim our space, our work, our joy?

"Pollinator Garden for Plains Art Museum" is a work of environmental, socially engaged art on the museum campus, led by artist Christine Baeumler in collaboration with museum staff, youth interns, and a host of community and regional partners. Essays by Colleen J. Sheehy and Iain Biggs place this project and Baeumler’s work within the wider context of contemporary art.

“Yes, and the body has a memory. The physical carriage hauls more than its weight. The body is the threshold across which each objectionable call passes into consciousness — all the unintimidated, unblinking, and unflappable resilience does not erase the moments lived through, even as we are eternally stupid or everlastingly optimistic, so ready to be inside, among, a part of the games.” ― Claudia Rankine, Citizen: An American Lyric SAINT PAUL, Minnesota — With Yes, and the body has memory, Minneapolis-based curator Mara Duvra has put together a challenging group show of women photographers, who are all grappling with notions of trauma, family, and ancestral connections, and the female body.