If his ostensible state-of-hibernation may seem a little anti-climactic, it’s a rest he’s earned.

The paintings and sculptures of the eight artists in this group show carry a potency derived from the convergence of man-made networks with ones culled from nature.

The odd juxtaposition of these common objects with an abstract formal language gives the work social dimensions and sensual qualities.

There is a palpable tension evoked in watching the crystalline visage of Nancy Reagan struggle for clarity against the loosey-goosey stained canvas.

The exhibition is a small testament to the efficacies of the late modernist project.

Trying to fail has played a major role in the work of Albert Oehlen.

The artist’s material of choice is live fireworks, or rather the tinted smoke, made of fine particles of organic dyes, that color their familiar, ordinarily airborn explosions.

Abdessemed’s show is an exhilarating introduction to his work as the artist’s “acts” (as he calls his works) have a truly visceral resonance for every viewer. Yet, the show suffers from the ubiquitous interests of the artist, his “fascination with the world” as he himself identifies it.

The problem with late Picasso has to do with his stubborn insistence on diaristic expressionism increasingly isolated from changing times.

While the Texas Biennial has some kinks to be ironed out, ALISON HEARST reports, working together to increase the dialogue and push Texas art forward is what Austin does well.