Glasstire counts down the top five art events in Texas.
For last week’s 2026 Spring Preview picks, please go here.

1. Chris Wolston: Profile in Ecstasy
Dallas Contemporary
November 7, 2025 – February 1, 2026
From Dallas Contemporary:
“Ecstasy, as curator Glenn Adamson observes, is a peculiar and provocative word — referring at once to a drug, transcendent religious experience, and, etymologically, to being ‘out of oneself.’ It’s an unexpected but fitting lens for Wolston’s work, which expands design beyond the physical into the imaginative, expressive, and ecstatic. Installed at Dallas Contemporary across four catwalks reminiscent of a fashion show or drag ball, Wolston’s pieces are accompanied by his husband and filmmaker David Sierra’s video works, which pulse with movement and light. At the center stands a radiant portrait of pop icon Grace Jones, envisioned as an illuminated fountain rippling with water.
Wolston makes design perform in unique ways, transforming function into fantasy, utility into expression. His practice spans woven rattan furniture that reimagines figural sculpture; monumental terracotta forms carved and fired to permanence; lightweight aluminum cast from foam and anodized in reflective hues; bronze furniture treated with rainbow patinas; and handwoven carpets made in Marrakech, each alive with improvisation and energy. In Profile in Ecstasy, these elements coalesce into a richly layered environment where design becomes a vehicle for imagination, queer desire, and transformation. The exhibition revels in the wild, seductive force of nature and the body, drawing on Art Nouveau, pre-Columbian symbolism, and architectural excess.”

2. Jaden McCreary: Growing Pains
Pencil on Paper Gallery (Dallas)
January 10 – January 31, 2026
From Pencil on Paper Gallery and Jaden McCreary:
“My recent work moves through the quiet terrain of subconscious thought; those impressions that linger, persistent and unspoken. Growing Pains becomes a map of these inner landscapes. Figures emerge fragmented, present yet dissolving, suspended in a liminal state: both self and symbol, grounded and vanishing. Against raw, natural environments, they mirror the architecture of my inner world, a world negotiating belief, autonomy, and the weight of taking up space.”

3. Scrappy: By Any Means Necessary
MotherShip Studios (San Marcos)
December 13, 2025 – February 7, 2026
From MotherShip Studios:
“Scrappy: By Any Means Necessary is curated by Jennifer Moore, featuring artists Hollie Brown, Ellen Crofts, Lisa Guevara, Julia Hungerford, John Le, Elisa Lendvay, Niloofar Mofrad, Hilary Nelson, Gyan Shrosbree, Jim Shrosbree, and Narong Tintamusik.
A scrappy individual will accomplish their objective by any means necessary with the resources at hand. This exhibition is a celebration of the many ways this quality of scrappiness might manifest in the artist’s studio. The word can be used pejoratively to describe an end product lacking polish and finesse — where the preferred final form would rebuke evidence of its process and the hand that shaped it, but risks sacrificing meaning and warmth. Artists embrace scrappiness for a multitude of reasons: imbued meaning, to hasten or simplify their process, to access the improvisational spirit of readymade and autoconstrucción, or as an indexical shorthand for the body. They tip their paper hats to Duchamp, Braque, Stockholder, Cruz, Villegas and Lucas, but also to the history of craft (quilting, scrapbooking and papier-mâché).”

4. June Woest: Weather Inside Out
Archway Gallery (Houston)
January 3 – February 6, 2026
From Archway Gallery:
“Weather Inside Out captures the interplay between photography, sculpture, and AI, exploring Woest’s experiences with the unpredictable nature of the weather by challenging the notion that we are helpless against it. Her works are an invitation to embrace change and find comfort in the unpredictable. The artist begins each work with a clay sculpture, created from a plaster mold, which she describes as an ‘act of intentional repetition that offers a sense of control and predictability.’ Then she documents these objects using photography, focusing on their form and the nuances of light and shadow, before handing over the work to AI with a single evocative command: ‘Fix the weather.’
Woest’s final prints capture the intersection between solid, tangible objects and ethereal, digitally altered environments, ‘a space,’ she says, ‘where we can hope to manipulate our circumstances for the better — not to gain power but to simply move with more freedom and purpose.’ For Woest, clay and AI are metaphors for human resilience and adaptability, a playful nod to a deeply human desire for control over our surroundings and lives — and the internal, emotional ‘weather’ we navigate.”

5. Chris Ireland: Dead Letter Office
Angelica College (Lufkin)
January 11 – February 10, 2026
From Angelina College:
“Cleveland, Ohio native Chris Ireland will share his current research based on representations of family and personal experience through the vernacular of photography. As Ireland says, “The work probes my relationship to home, marked by the loss of its certainties and an overall sense of placelessness. Fragmented images, full of overlaps and distortion, like a corrupted hard drive dreaming of a place to return to.”
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