Your Show of Shows

Dallas gallerist renews focus and more of this month's essential art visits

With spring comes an optimistic outlook, both in and outside the gallery walls. For March, we’ve got a young Canadian painter’s Dallas debut, the return of the prodigal gallerist, high-impact primary hues and a can’t-be-missed textural talent.

Caroline Mousseau at Cydonia
Reception: March 6, 6-8 pm
Exhibition dates: March 6-April 3

Cydonia owner Hahn Ho has been ambitious in the programming of her 6-month-old space, but she’s not yet embraced painting as a medium — until now. For her big spring show, Ho is bringing in the work of up-and-coming Canadian artist Caroline Mousseau, who was named one of Beers Contemporary gallery’s “Painters of Tomorrow.”

Says Ho, “My stable is heavily conceptual, and I don’t consider her that. When you look at her work, she’s existing in this tiny sliver of progress.”

Taking a textural, abstract approach, Mousseau “dulls down” her colors with wax, allowing her to lose control even as she honors the history of her medium.

The artist explains, “You’ve got so many advances explored in paint, and there’s this rich history to address. But everything I create out of my work is linked to an idea of paint as mud. I move to define and explore various points of reference within this floating material.”

COED, Josh Reames and Amber Renaye, at OFG.XXX
Reception: March 14, 7-10 pm
Exhibition dates: March 14-April 4

When Kevin Rubén Jacobs became curator of the Goss-Michael Foundation, he found himself not having the time to devote to his own space, the envelope-pushing Oliver Francis Gallery. Now Jacobs has left his day job to devote more time to his “baby,” rebranding it as OFG.XXX, the space’s URL.

“I’ve been building it up for the past three-and-a-half years and to see it not anything killed me,” he explains. “I would hear [Oliver Francis Gallery] referred to as OFG, so I ended up buying this domain and it became its identity.”

OFG.XXX will be “more focused” with less Dallas-based work and an informal artist-in-residency program that led to the relaunched space’s first show, a dual exhibit by Josh Reames and Amber Renaye. Originally from Dallas, the duo has spent the last few years in Chicago, stopping off in their hometown to use OFG as a studio space before relocating to New York.

Reames’ emoji-based paintings are a complement to Renayes’ more conceptual work, and this show is but a glimpse at the type of programming Jacobs is looking to do in the future. Berlin-based sculptor Rachel de Joode arrives in December for a residency with a show on the docket for the following spring, and Jacobs’s relationship with the Austrian contemporary art foundation TBA 21 means more adventurous programming will be coming our way in the near future.

Blue, Yellow, Red at Barry Whistler Gallery
Reception: March 7, 6-8 pm
Exhibition dates: March 7—April 25

As children, we’re undeniably attracted to red, yellow and blue. Those who are lucky enough to grow up to become working artists or enterprising gallerists find themselves continually compelled by these most essential of hues.

Barry Whistler belongs in the latter group, and a 2007 viewing of Barnett Newman’s “Who’s Afraid of Red, Yellow and Blue” in Berlin’s National Gallery inspired his current vibrant show. Featuring sunny photographs by Allison V. Smith and Ann Stautberg, paintings by the late John Wilcox, and rare lithographs by Ellsworth Kelly, the exhibition is the ideal opportunity to get in touch with your primary nature.

Leonardo Drew at Talley Dunn Gallery
Reception: March 20, 6-8 pm
Exhibition dates: March 20-May 16

Although a piece by Leonard Drew looks as if it were cobbled from found or destroyed objects, the Brooklyn-based sculptor actually purchases his materials — cotton, iron, mud or wood — and ages and deconstructs them before assembling.

A former artist-in-residence at San Antonio’s Artpace, Drew is returning to Texas this month for a solo show at Talley Dunn, where attendees can view his transformation of space in an up-close-and-personal setting.

Showing seven to eight of his smaller works, viewers can explore the themes of life, decay and time, as well as meet this dynamic, engaging talent.

Good Girl Gone Bad by Josh Reames at OFG.XXX.

Josh Reames

Photo courtesy of OFG.XXX

Good Girl Gone Bad by Josh Reames at OFG.XXX.

Dance News

Dallas Black Dance Theatre makes interim artistic director permanent

Richard A. Freeman, Jr.

Photo by Aleah Pilot

Richard A. Freeman Jr. became the new artistic director October 24, 2025.

Dallas Black Dance Theatre (DBDT) has officially named Richard A. Freeman, Jr. as its new artistic director, ushering in a new era of leadership for the dance company as it approaches its 50th anniversary season.

Freeman, a longtime member of the DBDT family, has served as interim artistic director through the company’s recently completed 48th and current 49th seasons. His appointment, effective October 24, 2025, marks a natural progression for the former lead dancer, resident choreographer, and artistic project coordinator, whose career within DBDT spans more than a decade of creative and organizational leadership.

“Richard has been an integral part of Dallas Black Dance Theatre's artistic fabric for years, and his extraordinary leadership during his time as interim artistic director made this decision clear,” says Heidi K. Murray, a member of DBDT’s board of directors, in a release. “His dedication to artistic excellence, his deep understanding of our mission, and his vision for the future of contemporary modern dance make him the ideal person to lead DBDT into this exciting new chapter.”

DBDT founder Ann M. Williams echoed the sentiment, calling Freeman’s appointment a full-circle moment for both artist and company. “Richard embodies everything Dallas Black Dance Theatre stands for: artistry, excellence, and a deep commitment to uplifting our community through dance,” she says in the release. “I have had the privilege of watching him grow from a gifted dancer into an inspiring leader and visionary artist. His dedication to preserving our legacy while boldly charting new artistic territory gives me tremendous confidence in DBDT’s future.”

During his tenure as interim artistic director, Freeman guided DBDT through seasons marked by artistic innovation and expanded community engagement, but also staff shake-ups and legal issues.

In October 2024, accusations of retaliation surfaced after 10 DBDT dancers, its entire main company, were fired following their decision to unionize in May and demand better working conditions. This led to an unprecedented "Do Not Work" order by the American Guild of Musical Artists.

Dallas City Council ultimately voted to withhold $248,000 in city funding due to labor violations, and DBDT later settled for $560,000 with the National Labor Relations Board.

In response, DBDT formed a 17-member advisory stakeholder task force co-chaired by Jennifer Scripps, president and CEO of Downtown Dallas, Inc., and Shawn Williams, vice president of public affairs at Allyn. The group has been working with DBDT leadership to review the organization’s policies and practices, propose changes that foster an accountable environment, and put in place safeguards to prevent future concerns related to talent.

In September 2025, executive director Zenetta Drew announced her retirement after nearly four decades with the company. A national search for her replacement will start in early 2026. Williams retired in 2014.

As artistic director, Freeman will oversee all aspects of DBDT’s artistic operations, from performances to educational initiatives, and continue to expand its reach throughout Dallas and beyond.

“I am deeply honored to accept this role and to continue building on the incredible foundation established by the vision of Ann Williams,” Freeman says. “This company has a unique power to move, inspire, and unite communities through dance. I look forward to working with our talented dancers, staff, and board to create unforgettable artistic experiences and to nurture the next generation of dance artists.”

A native of Washington, D.C., Freeman began his training with the District of Columbia Youth Ensemble and the Washington Ballet before graduating from the Duke Ellington School of the Arts and Virginia Commonwealth University. His performance credits span acclaimed companies and productions, including Elisa Monte Dance, Houston Grand Opera, Porgy and Bess, and The Wiz.

Freeman’s choreographic works have been featured by leading institutions such as Texas Ballet Theater School, Texas Christian University, and Booker T. Washington High School for the Performing and Visual Arts. He has also shared his expertise through master classes and workshops nationwide, reinforcing his commitment to DBDT’s educational mission.

Founded in 1976, Dallas Black Dance Theatre is the oldest and largest professional dance company in Dallas and one of the most acclaimed Black dance institutions in the U.S.

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