There are a lot of very bad Fritz Scholder paintings at the IAIA Museum right now. Not bad as in naughty—an apt description for many of Scholder’s works and for the way he blew the conventional view of Native American art out of the water back in the 1970s—but bad as in poorly executed.

Georgia O'Keeffe learned to control her image after Alfred Stieglitz first manipulated it.

Being stupid and irresponsible has its rewards in a forced viewing of Houston's Menil Collection.

The past year, after all, has been an energetic and explosive one in the annals of art in Santa Fe. But what's to come?

What if Clayton Porter made skateboards and David Leigh and Ben Meisner made ramps? Would their art be much different?

Don't let a deep and reasonable fear of pastels prevent you from investigating Reinhard Ziegler.

The photography exhibition currently on view at the Palace of the Governors has a homey, scrapbook sensibility that, especially for locals, reads like a gathering of friends and neighbors complete wit

Two exhibitions embrace simple—and complex—drawing in all its quirky glory.

On a recent weekend, with the winter sun bright but bleak and with the wind carrying a bite at the tail of its caress, the public happily used the Railyard Park.

An art exhibition called Occam's Razor forgets to stick to basics. That's irony, right?