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The author, in conversation with Bryan Mealer, presents his true story of soldiers, family, and an inexplicable crime. Well, the crime was armed bank robbery; the question is why?

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.

Uh oh, this feller's a purveyor of subtle and intelligent comedy. Good thing he's at Cap City and not playing a club up in, like, Pflugerville or something, right? Folks there might not recall, for instance, Johannsen's excellent This'll Take About an Hour special for HBO. Note: This show is recommended!

Celebrate everyone’s favorite wise-cracking, pizza-obsessed crime fighters and their cast of heroic allies and enemies in this collection of art inspired by those Teenage Mutant Ninja Turtles, now brightening the walls of that gallery that knows well how to honor the funkiest movies of all time.

No, it's true, plays that are just one minute each! Plays that explore the local zeitgeist and neighborhood narratives! More than 40 of them in this fifth annual showcase – all original, curated by Caitlin Wees and Dominic D’Andrea and written by, well, how about: Lowell Bartholomee, Sarah Saltwick, Elizabeth Cobbe, Reina Hardy, Rupert Reyes, C. Denby Swanson, Laura Freeman, Amparo Garcia-Crow, Adrienne Dawes, Lindsey Lane, Max Langert, and – oh, the list goes on. Good stuff, here: fast, fierce, and engaging AF, from your friends at ScriptWorks.

The Asian American Resource Center presents an exhibition featuring works from artists Dan Pham, Lauren Chai, and Matthew Koshmrl.

After 20 years in advertising design, animation, and video game development, this local artist is best known for his iconic Austin scenes and neon sign paintings; his latest series combines characters and text pulled from brightly colored food packaging.

Patterns and textures, textures and patterns, and depth beyond the static image: This new show at Atelier 1205 features work by Austin artists Rebecca Bennett, Lucy MacQueen, and Travis Seeger.

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.

What is this? This is "a gathering place. An imagined living room – at the bottom of the ocean – a home, where all there is is Love." This is a new performance and installation from Sharon Bridgforth, featuring Sonja Perryman, Walter Kitundu, and Florinda Bryant, with songs in the tradition of Black spirituals, with oracle readings, with "everyday objects that shapeshift … as we call the ancestors forward, and celebrate." And Robert Faires has a review of the show right here.

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.

"What's your 20, good buddy?" as the CB radio crowd used to say. Because where you're at is always important, and of prime importance if it's where you're at most often in your life. Locale – a sense of place – dominates in parallel exhibitions showcasing artists Jill Lear and Katie Maratta, and we recommend being there to enjoy it.

Here we go again, right? Recommending something beyond the city limits? We know, we know: There's already too much to cover properly and we should stick to Austin. But, damnit, this work by Anita Cooke, tell you what, it's so worth the drive to see it. Layers upon layers, textures upon textures, patterns and colors like these big and striking fabric-based pieces just grew, like some especially baroque form of coral. But you know the woman's spent hours and hours and hours, days on end, on each one. So, maybe make a day of it? See this show, check out the surrounding antique shops and all, get you a fine lunch or dinner in one of G-Town's decent eateries? Yes.

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.

Tammy Brown explores the tree tops along Piney Creek; Cherry Taylor creates tapestries in a slow and gentle process; David Parsons photographs Austin and Central Texas. This three-person show is the most visible result.

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.

The artist has spent years documenting his visions in 45 handbound sketchbooks during travels to cafes in Mexico, Havana, Paris, Berlin, Naples, and San Francisco; these drawings, collages, and little paintings are now on view within Wiggy's windows.

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.

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.