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Here's a full day of free-to-the-public exploration of the Blanton's fine collections, with a performance by Performa/Dance, artmaking with Art From the Streets, an artist talk with Clarissa Tossin, and more.

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.

"Some say the America of today is unexpected, surprising, and unforeseen; while others say they saw it coming long ago." In an effort to facilitate conversation on where America is today and where we're headed, Sixth Street Gallery has partnered with Artists 916 to present a show featuring art in a diverse range of styles and mediums, all exploring the theme.

Using the shopping mall and the parking lot as formal and conceptual frameworks, Julie Libersat's interactive video installation explores a suburban vernacular that presents consumption as a modern form of worship.

Whimsy and wonder, indeed: If anyone can evoke those feelings in a show of new paintings, it's gonna be that Lauren Briere with her sci-fi-inflected "Robots & Rowboats" series.

Join textile artist Olaniyi Rasheed Akindiya – that's Akirash, mononymically – for the debut of his newest show, featuring works exploring masquerades and costumes, inspired by Nigeria's Egungun Masquerade festival.

Behold this new series of large paintings by Dawn Okoro, exploring the black punk spirit. You already knew black is beautiful; with this exhibition, black may be even more beautiful – and punk AF. And here's what our reviewer thinks of the show.

A retrospective of Texas artist Catherine Lee's work in diverse media will be anchored by her monumental sculpture Hebrides #6: Clach An Trushal, on loan from the Contemporary Austin.

The crux of Jill Wilkinson’s work is drawing: Drawing from trees, drawing from the memory of trees, drawing from the muscle memory, drawing the void, drawing from the drawing. Now witness a fine selection of those original drawings – and the monoprints created from them.

Spencer Fidler’s practice is to collect plants from his property in Las Cruces, N.M., and draw them daily at four times their scale. Read our review right here, then see what such devoted work means for your floratropic eyes, in this new show at Flatbed.

Presenting a large-scale multimedia work by Karen Hawkins, displaying more than fifty nine-foot-tall fabric panels, each covered in 1000 pink hair bows, the bows representing the number of substantiated female child sexual-abuse cases reported annually to Child Protection Services agencies.

This new exhibition from Elizabeth Chiles begins with a central question of how to visually express various points of intersection of our lives and the breath, light, and time that holds them. The works on display here include collages and natural pigment paintings made from wild flowers and grasses.

This exhibition reveals the story of where American entertainment all began, featuring photographs, manuscripts, and other documents and artifacts related to Harry Houdini, Mae West, W.C. Fields, Bert Williams, George M. Cohan, Burns & Allen, Tony Pastor, the Nicholas Brothers, Barbette, and others. Step right up, citizen, as our own Robert Faires tells you more about it right here!

The sixth show by Tom Molloy in this elegant space is an exhibition of new drawings and found photographs that explore race – the social construct central to much of the injustice and inequality in America. Bonus: Mariah Robertson in the Project Room.

Here's a graphic tribute to the annual and much-beloved event that highlighted Austin’s cultural uniqueness from 1962-1998.

Here's a show exploring the conceptual origins of Ellsworth Kelly's last great work, the 2,715-square-foot freestanding building called Austin – a monumental structure with colored glass windows, a totemic wood sculpture, and 14 black-and-white stone panels in marble and granite – the opening of which coincides with this Carter E. Foster-curated exhibition.

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.

This place, ah, it's one of our favorite places in the entire city; and of course they're properly corona-closed. But check 'em out online right now – it's a rich, wonder-filled website – to whet your appetite for when things get back to … uh … are we still calling it "normal," these days?

This is a solo show with the Austin-based painter who's shown nationally since 1993 and is a veteran of more than 50 one-man exhibitions. This newest phase of work focuses on the horizon and the soft transitions that occur above and below.