Current Exhibitions

1878 Gallery
November 15, 2025 - February 1, 2026

Seth Damm
Dimensions Unknown

Dimensions Unknown continues Seth Damm’s exploration of tension and fluidity using rope as his primary medium. His installation moves away from the organic, bound, and draped qualities of his celebrated wearable works, into a more expansive dimension built on repetition and pattern. Dimensions Unknown examines the interplay between line and space, transforming two-dimensional forms into an immersive piece that responds to the gallery walls. This new direction in Damm’s work builds upon his collaboration with Ori House, seeking a spiritual and creative center between the process and the viewer. Drawing from techniques used in creating wearable design concepts, this installation expands into a larger scale, occupying the space independently while still implying the human form.

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Brown Foundation Gallery
November 15, 2025 - February 1, 2026

Barry Stone
Slow Bell

Barry Stone’s work explores the interplay between images and sound and their relationship to location and memory. His exhibition, Slow Bell, references the landscape of Galveston and memories of his mother. "Slow bell" refers to the signal once used in nautical navigation – a method for indicating the ship’s speed instructions between the ship pilot and engine room. It can also refer to a bell rung slowly at a funeral to signify sorrow and commemorate a death, a practice known as tolling. Stone’s photographs are often “data bent,” which involves manipulating the code of his digital images. The resulting photographs contain glitches and visual anomalies which mirror the spontaneous and unpredictable nature of the peripheral sounds captured in his audio recordings. His exhibition includes new work made in response to Galveston and the memories it evoked of his mother’s relationship to the island.

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Strand Gallery
October 11, 2025 - January 4, 2026

Gil Rocha
Cáscaras y Leftovers: Mapping Memories for Tomorrow

Gil Rocha’s exhibition, Cáscaras y Leftovers: Mapping Memories for Tomorrow, explores the U.S.-Mexico border as a site of transformation, complexity, and contradiction, where issues of migration, identity, and survival intersect. Grounded in rasquache aesthetics his work examines the act of crossing - physically, culturally, and psychologically - while challenging fixed notions of identity, place, and belonging. Using everyday materials such as signs, beer cans, plastic bags, and faded photographs, Rocha repurposes discarded objects to tell both personal and collective stories of struggle and endurance. These objects, imbued with the weight of border life, are transformed into symbols of survival and resilience. In Rocha’s work, the border becomes a fluid space, constantly shaped by political, social, and environmental forces, which he describes as “a dynamic place where lives, cultures, and histories converge and evolve.”  Rocha invites viewers to reconsider the border as not just a line of division, but a space of complexity and possibility where geography intersects lives, cultures, and histories.

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