Welcome to DARIA: Denver Art Review, Inquiry, and Analysis, a publication devoted to art writing and criticism focused on the Denver-area visual art scene. DARIA seeks to promote diverse voices and artists while fostering critical dialogue around art.
A sense of mystical geometry and curious conclusions fills the University of Denver’s Vicki Myhren Gallery in A System in Place: In Dialogue with Sol LeWitt, curated by Ramón Bonilla. Though the drawings, murals, and sculptures in the group exhibition are created according to different sets of predetermined structures, the works avoid rigidity or emotionless repetition. True to the generous spirit of Sol LeWitt’s endeavor, the varied systems allow for new visual languages to emerge.
Flourish and Natural Reverie, two exhibitions on view at Walker Fine Art, raise questions about the nature of perception and the perception of nature. Both exhibitions remind us that humans are part of nature, and that human perception is shaped by nature, including, for example, biological structures and environmental conditions.
EARTH.SPEAKS ámanikyatumɵ’ɵvi or “Resting Hand” sits in Green Mountain Falls, Colorado. Comprising five Superadobe benches bisected by Fountain Creek, the work inverts the propositions of the canonical Land Art of the 1970s. Where Robert Smithson built at a scale that eclipses the human body on land long treated as empty, brooke smiley, an Osage artist, created with the human body in mind on land she acknowledged as inhabited.
The audio transcript from the moon landing kicks off Space Is the Place: Art & Design in the Atomic Age at the Kirkland Museum, on view through February 21, 2027. The exhibition offers viewers a time capsule of the Atomic Age and the Space Age—the overlapping periods of postwar scientific acceleration stretching roughly from 1945 to 1973—reflected in objects and images that capture the time’s shared optimism for invention.
Here + Now, a group exhibition currently on view at the Curtis Center for the Arts, reunites the artists who were part of Mai Wyn Fine Art Gallery. The latter was a prominent commercial gallery led by the artist Mai Wyn Schantz on Santa Fe Drive in Denver. Schantz closed the space in 2020 due to COVID-19.
Kyle Vincent Singer’s work has appeared at Burning Man, Meow Wolf, and now his first solo exhibition, Slopmaxxxing, is up at Friend of a Friend gallery in Denver’s RiNo district. Singer's practice spans furniture, sculpture, painting, and wall-mounted works. The show articulates a "metabolic" art that consumes anything from McDonald's packaging to commercial-grade expandable foam as resources, ultimately suggesting possible methods of care under American hyper-consumption.
Once more and not for the last time, artist and curator Nathan Storey brings RUINS: PERFORMING QUEER HISTORY to the public. The exhibition draws from a wellspring first tapped for Union Hall’s 2025 Rough Gems Curatorial Program and revisited at San Diego’s BEST PRACTICE earlier this year. In the series’s third installment, Storey assembles seven artists with “strong ties to Colorado” at Boulder’s East Window through October 21, 2026. Possessing a spirit much larger than the space in which it appears, RUINS III activates queer history in contemporary art so as to affirm collective futures.
Carol Bivins’s and Jodie Roth Cooper’s concurrent exhibitions at Blo Back Gallery illustrate the ways in which materials impact an exhibition's overtones and can often inform an artist stylistically. Bivins’s colorful paintings are visual comfort food: immediately appealing and easy to digest. Cooper’s monumental steel sculptures are heavy and demanding, calling attention to process, materiality, and the passage of time.
The objects and symbols inhabiting Linda Bishara’s world read like a list of magic potion ingredients: beetle, eggshell, raincloud, tooth, bubblegum, doll head, and a sprinkle of stars. Some other key elements are memory, dreams, and sculptural intuition. Her maximalist ceramic sculptures fuse fantastical elements with familiar objects until they burst into colorful new visions.
The Arvada Center for the Arts and Humanities boasts three theater spaces (including an amphitheater), 10,000 square feet of exhibition space, another 10,000 square feet of classrooms and dance studios and, outside, a Sculpture Field. Originally founded by the City of Arvada in 1976, the Center declared nonprofit status in 2016. It now celebrates its fiftieth anniversary with 50: A Half-Century of Art—Celebrating a Legacy of Creativity in the Theatre Gallery. The show is a hybrid retrospective and celebration of the Arvada Center itself, which suggests that art spaces should be community spaces.
In their concurrent exhibitions at Edge Gallery in Lakewood, Wynne Reynolds and Travis Vermilye move through this theme of connectivity with two different conceptual approaches. Reynolds expels the thorny pain of the patriarchy with a relentless material curiosity and collaborative creation, while Vermilye looks outside of human narratives towards the meditative and generative properties of mycelial networks.
Agnes Ma’s latest installation, it all ends the same, transforms Understudy in downtown Denver into an acutely focused snapshot of a landscape. It captures what resembles the corner of a dusty, desert property fenced off with bright green posts and barbed wire.
PlatteForum opened its inaugural exhibition, Future Archives, in its new space on July 31. On view through August 28, the exhibition features the work of its most recent resident artist, Erica Rawson, along with some work created by the high school interns.
Now on view in the Hoag Gallery at Sangre de Cristo Arts and Conference Center through August 15, Concrete Creativity: Historic Murals of the Pueblo Levee historicizes a public artwork that once held the Guinness World Record for the largest outdoor mural from 1995 to 2016. Slight but sufficient, the show functions primarily as promotion for the Pueblo Levee Mural Project’s conservation efforts while tapping into the potent sensation of local pride.
Contained within a small hallway gallery at Colorado State University’s Gregory Allicar Museum, Meticulous packs in a maximalist array of artworks spanning multiple media and multiple decades from the museum’s permanent collection. The exhibition demonstrates both the breadth of the collection and a shared commitment among the artists to detail, ornamentation, and visual intensity. From photographs of free-ranging tigers to a brightly beaded bicycle, the works create a sense of visual frenzy in a tight space, rewarding close looking.
The current exhibition at the Museum of Art in Fort Collins, titled A Celebration of Colorado: A Juried Exhibition of Northern Colorado Artists, features diverse artists from around Northern Colorado with a wide range of practices, mediums, and interests. What unites these works is their focus on our embodied experiences.
Set the Table: The Art of Nourishment, currently on view at the Dairy Arts Center, adopts this same motif, “exploring the dinner table as a central site of cultural, ecological, and artistic discourse.” The featured works unveil how food is tied to identity, history, environment, and social connection. They also portray the dinner table itself as both an object and a stage. Bringing together more than nine artists and collectives, Set the Table invites viewers to come break bread together. It asks us to consider the phrase “you are what you eat,” not as an individual judgment but as an opening inquiry to look at how food systems, social systems, and interpersonal systems affect us every time we take a seat.
Wearing, Wearing examines how labor—including that of garment workers, white collar workers, consumers in the attention economy, and artists—creates value in the fashion industry. Curated by Felicity Wong as part of Union Hall’s 2026 Rough Gems curatorial program, the exhibition prompts visitors to engage with the racial politics of the garment industry and its colonial histories. The show features collections, installations, mixed media artworks, sculptures, upcycled fashion collections, and videos by Sarah Darlene, Allegra Giddings, Elle Hong, Paloma Jimenez, Allison Sheldon, and Flora Wilds.
On view currently at Metropolitan State University’s Center for Visual Art (CVA), Collective Nouns is a biennial exhibition showcasing art from the staff and faculty members who support the institution’s visual art program. Student shows, of course (and rightly so), make up a large part of the CVA’s exhibition schedule (an impressive one is on display concurrently in the 965 Project Gallery, showcasing art from the CVA’s Art and Action Lab alumni). But it’s easy to forget that the educators—who teach, guide, mentor, and help students exhibit their work—are accomplished contemporary artists in their own right.
Stepping into Juan Carlos Escobedo’s exhibition Curas: Males del Corazón / Remedies: Ailments of the Heart at the Art Students League of Denver (ASLD) is both whimsical and deeply reflective—a journey through the artist’s residency at ASLD that balances conceptual rigor with Escobedo's subjective experience. As a residency exhibition should, the work embraces experimentation, transforming the ASLD’s building—a late nineteenth century former school—into an immersive and collaborative environment for Escobedo’s ideas and historic architecture.
