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?

Homer was the first to invoke the image of a “wine dark sea” in the Iliad as a physical reflection of Achilles’ grief at the death of Patroclus, but the phrase throbs against the skull when considering the paintings of Karen Gunderson.

Even if big-name, blue chips make you bored, there's are hidden highlights worth grabbing in Drop, Stack and Lean.

Marty Horowitz, like the poet Amiri Baraka, pushes buttons with his work. Just in time for the election.

The book following in the wake of an exhibtion on Georgia O'Keeffe and Ansel Adams proves to be a thoughtful treasure.

Is quality something we may consider across the board—quality of relationships, of life, of thought—through something as simple and distilled as the essence of an object? A chair, perhaps?

Water Planet is an ambitious, multi-faceted exhibition/happening that aims to consider water through the broad spectrum of many artists and performers. The efforts range from charming to profound to clumsy.

Every year, SFR declares fall the season for locals but, every year, it comes as a bit of a surprise. At the end of each international über-art summer, the local scene wakes up and takes the town back. The burst of local energy, especially in the orbit of big events such the High Mayhem Emerging Arts Festival, is always gratifying, even if the work falls flat as often as it succeeds.

Patrick Kikut asks: What do the signifiers in landscape paintings mean when removed from their original context and allowed to float free and interact with the work of other artists, using the gallery space as a conceptual horizon?