Jessica Stockholder presents colorful, abstract works that seem to bring painting into three-dimensional space. The artist's first solo exhibition in Texas in more than a decade, "Relational Aesthetics," includes nearly a dozen sculptures that combine abstraction, found objects, and bright colors. Among these are new and recent works from Stockholder's Assist series: brightly colored, abstract assemblages that require the support of another, interchangeable object in order to stand. Not part of the sculptures themselves, these utilitarian objects-such as a refrigerator, a hockey net, or a stack of car tires-become non-functional as they serve to support Stockholder's work, highlighting the nature of our relationships with both objects and art.

At the center of the large first-floor gallery space at the Jones Center, the vibrant, site-specific sculpture The situation @ the party, 2018, intervenes within the existing architecture of the museum. Made of brightly colored plastic, wood, fiberglass, yellow carpet, a rolling ladder, and more, the work doubles as a viewing platform and pedestal, on and through which museum visitors may view a focused exhibition of the prints of First Nations artist Robert Davidson (Haida, born 1946 in Hydaburg, Prince of Wales-Outer Ketchikan division, Alaska).

Robert Davidson: "U and Eye" is curated by Stockholder and underscores her own creative relationship with other artists and art forms, including First Nations artists, whose work was embedded in her day-to-day life growing up in Vancouver.

The exhibit will be on display through March 3, 2019.