In Joiner's photographs, she memorializes the connections of home, between the self and family, acknowledging how fragile they may become in the wake of grief.

In this moment of climate catastrophe, All Four Seasons in Equal Measure reads as both lament and plea: mourning the loss of biodiversity and climatic predictability while urging us to look and listen to what remains of the wild.

Peter Price’s debut solo exhibition at Snide Hotel Gallery, Third Person Omniscient, implies through name and form, an arcane tether spanning time and space, cast and narrator.

A patriotic mermaid, leather daddy Santa, and a drag queen easter egg all walk into an art gallery. The result? An overwhelming immersion into the world of Kentucky’s LGBTQ history, seen through the eyes of queer artist Feather Chiaverini.

The coastal aesthetic is shifting–like the barrier islands it is modeled after–from that of a reflection of the outdoors to merely a memory. The body, anonymous and in a state of stillness (whether by leisure or illness–reasons are unclear) is a reminder of our impermanence on this planet, and, oddly, it feels comforting.

Come Rain or Shine, by Ceirra Evans at Institute 193, runs in circles—like a dog chasing its tail—around the stereotypes of Appalachian life and is set against the tumultuous backdrop of social, political, and climate catastrophe. Yet, it holds fast to the urgency of friendship, frugality, and solidarity in the face of global meltdown.