In Jenny Saville: The Anatomy of Painting, intimacies can be read in the dimples of our skin, in our folds, in our bloodshot eyes. Bodies meet, seemingly stitched and melded together. Skin is not a surface-level afterthought, but rather a pulsing record of internal lives and the impact of external influences.

Teddy Sandoval and the Butch Gardens School of Art arrived at the Contemporary Austin in mid-September, a traveling exhibition of exhibitionism and correspondence and queer expression. Hundreds of works on paper, ceramics, and performance art photography inundates the viewer with Teddy Sandoval’s prolific and exposing tendencies.

There is a sense of intentional chaos in the presentation of these paired exhibitions, Double Vision: The Rachofsky Collection and the Hartland & Mackie / Labora Collection and Francesca Mollett: Elsewhere.

Spam cans, venetian blinds, space heaters, scent diffusers: the materials in Haegue Yang’s oeuvre have long exposed audiences to materials which wink at the domestic and natural world and inundate the senses.

Flores structures Brother Brontë like a web, its pathways sticky and stretched and gradually merging into one another. This results in a chaotic first act that is then mined for meaning in its successors.

The merging of figuration and abstraction, Cecily Brown’s pinks and reds and whites nurture thighs and screams and puddles of nothingness and everythingness. In this mid-career retrospective, Themes and Variations, we confront close to thirty years of the body perceived and the body in sensation through Brown’s unbridled brush.

In this experimental memoir, Wei Tchou vacillates between the pinnules and petioles of ferns and the bounds and betrayals of humans as she unpacks the defining moments of her upbringing and her present obsessions.