In celebration of its 15th anniversary, Artpace presents the first-ever U.S. survey of 95.1 Artpace alum Felix Gonzalez-Torres' billboards in a yearlong, state-wide exhibition of 13 seminal works sited in Dallas, El Paso, Houston, and San Antonio. Major underwriting for this special exhibition is provided by the Linda Pace Foundation, with generous in-kind support from Clear Channel Outdoor.

Houston artist Jamal Cyrus explores the construction of histories through deconstruction and reconstruction of oral, visual, and textual sources. Cyrus's narratives-both real and fictional-examine the prismatic world of Popular culture in search of its underlying realities or hidden meanings. In his Pride Record series, Cyrus tells the story of an independent record label, which, because of the function its music plays in politicizing urban working class youth, becomes a target of the FBI's Counterintelligence Program.

Elements of nature permeate much of New York artist Corey McCorkle's work, whether it is the fields of a garden or the angle of the Earth's axis. His projects, which explore the ideas of isolation and the ideals of Utopia, have been exhibited both in the United States and Europe. McCorkle develops these works through spatial modification and a variety of scrupulously crafted mediums, including sculpture, photography, and video production. For his 2007 Maccarone gallery installation, When a Dog Barks, The Response in the Ear of the Sky is a Star, McCorkle showcased the ruins of an abandoned zoo on the outskirts of Istanbul, highlighting the lost hopes for the city's overoptimistic plans for revitalization.

Polish artist Monika Sosnowska creates architecturally influenced sculptures and installations that disrupt the viewer's conventional perception and experience of space. Sosnowska's crunched, twisted, and mangled sculptures recall the formal appearance of Minimal art of the 1960s and 1970s, which featured works that oscillated between functional object and sculpture. Often the artist conceives her distorted and disorienting works for a particular space or event. At the 2007 Venice Biennale, Sosnowska wedged a crumpled steel skeleton of a modernist-era building inside the Polish Pavilion, turning a symbol of Eastern European institutional architecture into a flaccid sculptural mass.

On the Road takes its title from the legendary book by American poet and novelist Jack Kerouac, who recounts his eventful road trips across the United States in the late 1940s. The exhibition investigates the mythology of the American motoring adventure as it began to develop in the early 1920s, with the advent of immense expansions of the highway system, particularly in the West of the country. Featuring two interrelated components, the first part of the exhibition presents the practices of artists whose images and works have long been associated with the exploration of the West by way of the automobile. The second part is the result of a recent two-week excursion through Texas by the curator, during which a number of artifacts and documents were collected for display. Beyond looking at the road trip from a nostalgic point of view, On the Road explores the idea of such a drive as a rite of passage, a journey toward emancipation on the way to a destination that may be largely unknown but which holds the promise of liberating self-discovery.

On the Road is curated by Jens Hoffmann, Director, CCA Wattis Institute for Contemporary Art.

The second artist to be featured in Artpace's year-long WindowWorks tribute to past residents, Ken Little's (IAIR 95.4) sculptures explore the symbolic connotations of varying and somewhat unorthodox materials. Items of taxidermy modeled by leather apparel, articles of clothing tailored from dollar bills, a house walled by the pages of a bible…his work questions the identity of the subject by replacing its literal surface with a symbolic one. As he assembles these objects, the symbolic meanings clash with each other and with the whole of the sculpture, setting into motion a cycle of reinvention that attacks the viewer with a multitude of possible meanings. Little's guiding aesthetic is an act of constant questioning, one that redefines his sculptures in their entirety, from the smallest individual object to the very essence of their subject.