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This is something to see, all right, as the gallery walls are filled with work by artists tasked with capturing either their whole self or an aspect of self. And most of the artists have depicted themselves via abstractions and symbolic representations. Note that Randall Reid, Jan Heaton, John Sager, Chun Hui Pak, and Caprice Pierucci are only some of the artists represented in this group show, and we reckon you'll be right there with us, viewing the array of wonders on display.

This is a four-day festival of new and avant-garde performance from the Vortex and Avant Theatre Project, designed to explore the many permutations and intersections of Latinx identity in the 21st century and beyond, featuring work from playwrights, solo performers, and improv troupes exploring and critiquing the ways that Latinidad engages with questions of race, ethnicity, color, gender, sexuality, religion, class, and citizenship. Jesus I. Valles’ one-man show (Un)Documents is part of this. The Latinauts' improvised sci-fi telenovelas are another. Also, Sin Verguenza from the reigning Queen of Texas Burlesque, Chola Magnolia; readings of plays by Krysta Gonzales and Briandaniel Oglesby; and a workshop of Glass Half Full’s collaboration with Jesus I. Valles and Gricelda Silva, which will use the myth of El Cucuy to speak about ICE and the Border Patrol. ¡Oralé!

The Contemporary Austin and grayDUCK Gallery present new work by eight artists who participated in the museum's Crit Group – a program combining group critique with professional development. For viewers, this means an array of sculpture, photography, painting, drawing, collage, installation, and ceramics by Adrian Aguilera, Christa Blackwood, Christine Garvey, Ron Geibel, Jenn Hassin, Landon O'Brien, Dawn Okoro, and Rachel Wolfson Smith.

He's brought us Confessions of a Mexpatriate, among other powerful works of theatre, and now look: Austin playwright Raul Garza's newest is about the current immigration crisis – illuminating the fraught history between the U.S. government and Mexicans seeking that “shining city upon a hill.” Starring Karina Dominguez as Gloria and Giselle Marie-Muñoz as the Virgen de Guadalupe. Aaaaaand: Mical Trejo! Directed by Patti Neff-Tiven for Ground Floor Theatre. And reviewed here by Robert Faires.

This satiric play by Stephen Kaplan tells the story of two marionettes with a human child who starts growing strings of his own. Can his kindergarten teacher save him? Directed by Chelsea Beth for Last Act Theatre Company.

Civil rights lawyer Sethi chronicles the stories of people affected by hate, his new book allowing survivors to tell their stories and describe how the bigoted rhetoric and policies of the Trump administration have intensified bullying, discrimination, and even violence toward them and their communities.

This is a five-person exhibition, featuring artists Denise Burge (OH), Jessica Cannon (NY), Michael Henderson (TX), Jessica Simorte (TX), and Sean Sullivan (NY). The show, curated by Max Manning, highlights work by artists making strong contributions to the fields of painting and drawing and "sheds light on a shared aesthetic that crosses generational, geographical, and social boundaries."

This Californian's “Fun Size” show was the highest-rated comedy special on Showtime in 2015, and he hasn't slowed down since, working the festivals and your late-night television, now bringing his arch observations to the Cap City stage.

This exhibition is enhanced with artifacts providing historical context for the paintings, rich with the unbroken connection the Comanche people have with their roots. Also, Rodeo: The Exhibition. Boy howdy, it's the history of the Texas rodeo – vibrant, interactive, and fully documented in this fine new show.

This salon-style exhibition offers a wide array of prints – etchings, lithographs, woodcuts, and painterly prints known as monotypes – printed by hand from copper plates, stone, and carved wood on Flatbed’s presses. After two decades in the current location, the inky powerhouse has organized this show with its upcoming move in mind, digging deep to present a selection of works priced perfectly for collecting, featuring contemporary and vintage prints by artists Julie Speed, Ann Conner, Frank X Tolbert 2, Teresa Gomez-Martorell, David Everett, Francisco Delgado, Sharon Kopriva, Joan Winter, Celia Muñoz, Ken Hale, and many more. Recommended.

You know who does some beautiful, intriguing, and often simultaneously creepy work in ceramics? In, actually, ceramics and fur? RISD grad Terra Goolsby is who. "With a focus on the uncompromising, unbridled, and primordial nature of characters and settings," the gallery's description goes, "Goolsby's work harbors an aesthetic that is both dangerous and sensual." We concur, and recommend this show.

You just know Zach Theatre's gonna do this fabulous sockdollager of a crowd-pleasing Broadway show up right, with Abe Reybold at the helm and Allen Robertson handling music direction. Hell, you could attend just to hear that hilarious "Gaston" song performed live, couldn't you?

Etchings, woodcuts, lithographs, monotypes, and monoprints published over the last year, by Richard Amendariz, Taiko Chandler, Michael Ray Charles, Suzi Davidoff, Annalise Gratovich, Tom Huck, Gareth Maguire, Winston Mascarenhas, Bob Schneider, Howard Sherman, Jill Wilkinson, Danny Williams, and Joan Winter.

Ed Ruscha, anyone? We'll bet yes – we're big fans ourselves – and now here's a diverse selection of the celebrated American artist’s books, photographs, drawings, and pprints. With archival production materials, preliminary sketches, and studio notebooks; with more than 150 objects providing visitors an unprecedented look into Ruscha's creative process. And the Chronicle's Melany Jean tells more about this show right here.

Here's a striking exhibition of murals, paintings on canvas, and a sculptural installation masquerading as a public bathroom – all by that acclaimed Schipani, voted Austin's Best Muralist in 2016. This new show is, we're told, "largely a reckoning with masculinity. What is manliness? What has it meant in the past, what does it mean now, and what are its shortcomings?" Could be our review provides a few answers.

In the latest iteration of this series from BossBabes and the Ney Museum, meet the conceptual artist who emphasizes exaggerated versions of femininity, with notes of pop culture and drag. Much of her work – Popp art, right? – has been influenced by fashion editorials, makeup artists on Instagram, B-movies, clowns, and comedy.

Now in its 23rd year, the annual exhibition continues to shed a spotlight on talented Latinx artists across the U.S. This latest iteration, "Beyond Walls, Between Gates, Under Bridges," curated by Rocha-Rochelli, is inspired by the significant social changes that have taken place along the U.S.–Mexico border over the last 20 years. And here's our review of the show.

Teatro Vivo presents this bilingual comedy by Josefina López, about a group of women who work at a sewing factory and reveal their dreams for the future and their relationships with their husbands, lovers, and children. The cast features Martinique Duchene-Phillips, Gina Marie Hinojosa, Eva McQuade, Ana Laura de Santiago, and Minerva Villa, directed by Claudia M. Chávez.

Almost a decade and a half of SouthPop already? Yes, and now the venue that celebrates all the long strange years of live-music Austin that have gone before, now that bastion of funky cultural puissance on South Lamar brings an eclectic show of works from the permanent collection to their storied walls.

This is the workshop Hannah Kenah led for Rude Mechs while they were creating their Field Guide. Together, you'll write, you’ll share – and there'll be a mic and a stool. Sign up now for this one-day class that's low-pressure, high-fun, and makes the last Sunday in September worth waking up for.

The Austin History Center's latest exhibit spotlights local efforts to create social change over the decades, including the Civil Rights and Women's Liberation movements. Residents are invited to upload personal photos of recent marches and rallies for inclusion.

In 2013, Lenka Clayton attempted to objectively measure the furthest distance she could be from her toddler son in three environments: a city park, the alley behind their Pittsburgh home, and in the aisles of a local supermarket. The trio of videos humorously underlines the challenging judgment calls that parents make about how much autonomy to give their children. (For more, see Marisa Charpentier's review right here.)

Rodney McMillian's social critique of American histories, injustices, and structures of power explores the changing symbol of the White House and the concept of civic death.

City Theatre is trampling out the vintage with Frank Galati’s stage adaptation of John Steinbeck’s literary masterpiece, following the Joad family's troubled 1930s journey from the Oklahoma dust bowl to that promised land of Califor-nigh-ay. Directed by Andy Berkovsky.

Does it get more Eighties than this? Probably, since "Vogue" is from Herself's 1990 album I'm Breathless. But you know what we mean. And maybe you want to join fellow retro-loving citizens in replicating these classic moves?

Howell's palette has always been informed by nature and its flux between calm and chaos. The artist describes it as an ongoing conversation and you can see a visual transcript, as it were, of that conversation invigorating the Workman walls in this new exhibition.

Meg Aubrey’s candy-colored palette belies the loneliness, disquiet, and isolation she renders in her paintings of upscale suburban life.

There's an Elvis-celebratin' spectacle of live performance rocking the hillside stage for the 60th anniversary of this midsummer entertainment.