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Arturo Herrera’s work includes collage, works on paper, sculpture, relief, wall painting, photography, and felt wall hangings. His work taps into the viewer’s unconscious—often intertwining fragments of cartoon characters with abstract shapes and partially obscured images that evoke memory and recollection. Using techniques of fragmentation, splicing, and re-contextualization, Herrera’s work is provocative and open-ended. For his collages, he uses found images from cartoons, coloring books, and fairy tales, combining fragments of Disney-like characters with violent and sexual imagery to make work that borders between figuration and abstraction and subverts the innocence of cartoon referents with a darker psychology.

Repetition and revision are central to Ellen Gallagher’s  treatment of advertisements that she appropriates from popular magazines like Ebony and Our World. Initially drawn to wig advertisements because of their grid-like structure, she later realized that it was the accompanying language that attracted her. Gallagher began to bring these “narratives” into her paintings—making them function through the characters of the advertisements, as a kind of chart of lost worlds. Although the work has often been interpreted strictly as an examination of race, Gallagher also suggests a more formal reading with respect to materials, processes, and insistences. From afar, the work appears abstract and minimal; upon closer inspection, googly eyes, reconfigured wigs, tongues, and lips of minstrel caricatures multiply in detail.

Teresa Hubbard and Alexander Birchler live and work in Austin, Texas, as life partners and artist-collaborators. Together they make short films and photographs about the construction of narrative time and space, without the context of a traditional story line; their open-ended, enigmatic narratives elicit multiple readings. They began their collaboration in the mid-1990s, making sculpture, installation, photography, and performance-based work. Their interest in the construction and negotiation of space, architecture, and the function of objects in three dimensions plays a primary role in their work. Their productions reveal a strong sense of carefully constructed mise-en-scène that owes as much to natural-history-museum dioramas as to cinematic directorial techniques.

Jessica Stockholder is a pioneer of multimedia genre-bending installations that have become a prominent language in contemporary art. Her site-specific interventions and autonomous floor and wall pieces have been described as “paintings in space.” Stockholder’s complex installations incorporate the architecture in which they have been conceived, blanketing the floor, scaling walls and ceiling, and even spilling out of windows, through doors, and into the surrounding landscape. Her work is energetic, cacophonous, and idiosyncratic, but close observation reveals formal decisions about color and composition, and a tempering of chaos with control.

Oliver Herring’s early works were woven sculptures and performance pieces in which he knitted Mylar, a transparent and reflective material, into human figures, clothing, and furniture. Since 1998, Herring has created stop-motion videos and participatory performances with “off the street” strangers. He makes sets for his videos and performances with minimal means and materials, recycling elements from one artwork to the next. Open-ended and impromptu, Herring’s videos have a dreamlike stream-of-consciousness quality; each progresses towards a finale that is unexpected or unpredictable. Embracing chance and chance encounters, his videos and performances liberate participants to explore aspects of their personalities through art in a way that would otherwise probably be impossible.