On Friday, September 25, the Museum closes at 6 pm and the Law Building is closed all day. 
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  1. “HOME—So Different, So Appealing” Travels to the Museum of Fine Arts, Houston, in November

    Oct 30, 2017 - The opening section, Model Homes, focuses on the iconic single-family home and the far-reaching consequences of the utopian American dream. Central to this section is Miguel Ángel Rojas’s Nowadays (2001/2008), a text-b ased work made of coca leaves from which the exhibition title is drawn. The final section of the exhibition, Going Home, reveals how contemporary realities, such as political conflict, human trafficking, and informal economies, have led individuals to dream of and seek out “better” homes.

  2. Reception | 2025 Glassell Student Exhibitions

    The selection is a cross section of art produced in studio classes and highlights the students’ diversity of backgrounds and visual experiences.

  3. “Soul of a Nation: Art in the Age of Black Power” to Open at MFAH with New Section on Houston Artists and Roster of Online Programs

    Jun 24, 2020 - This section re-creates one aspect of Betye Saar: Selected Works 1964–1973 through nine works. “This new section contributes to a more comprehensive representation of Black American art during this era, and celebrates an important legacy of art making here in Texas.” The MFAH presentation adds a section featuring a number of works from the Museum’s permanent collection to spotlight Houston’s vital Black American art community during this period.

  4. All We Imagine as Light

    Writer-director Payal Kapadia won the Grand Prize at the 2024 Cannes Film Festival for this sensitive drama, the first female-directed Indian film in the festival’s main competition section.

  5. First Major Retrospective of American Photographer Sally Mann Travels to the MFAH in March 2019

    Feb 20, 2019 - The final section of the exhibition, What Remains, explores themes of time, transformation, and death through photographs of Mann and her family. The Abide with Me section also includes photographs of Virginia “Gee-Gee” Carter, the African American woman who worked for Mann’s parents for 50 years. The final component of this section is a group of pictures of African American men rendered in large prints (50x40 inches) made from collodion negatives.

  6. Museum of Fine Arts, Houston, Continues Collection Series with “Statements: African American Art from the Museum’s Collection”

    Jan 20, 2016 - The final section of Statements focuses on contemporary artists who directly challenge stereotypes and map the complexities of identity politics through portraiture and narrative. Other more subjective examples in this section reflect both urban and rural experience, including works by Roy DeCarava, Earlie Hudnall, Jean Lacy, Thornton Dial, Sr., and Lonnie Holley among others.

  7. Glassell School of Art | 2025 Student Exhibitions

    The selection is a cross section of art produced in studio classes and highlights the students’ diversity of backgrounds and visual experiences.

  8. Groundbreaking exhibition brings centuries of royal treasures from Jodhpur, India, to the U.S. for the first time in March 2018

    Jan 8, 2018 - Among the furnishings shown in this section is an exceptional wood baradari (pavilion). The section culminates in the extraordinary 17th-century Lal Dera tent, one of the oldest, if not the only, intact Indian court tent of its time. Zenana: Cross-cultural Encounters In this section, paintings, carpets, textiles, jewelry, along with intricately-carved sandstone jalis (screens), from behind which women viewed courtly activities, evoke the setting of a royal

  9. Please Touch the Art! A “Houston Penetrable” Primer

    Apr 23, 2014 - No, this is the first time the Museum is displaying this particular Penetrable, though you may have seen a test run late last year on a small section of grid in Cullinan Hall.

  10. Memoria

    Memoria Directed by Apichatpong Weerasethakul(Various Countries, 2021, digital, in English and Spanish with English subtitles) The images in the film’s last section “represent a quietly mind-blowing moment of cinema, something