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.

Buster Graybill harvests memories, stories and objects from the rich cultural geography of rural America, using them as creative fuel. His themes of adaptation, displacement, and re-contextualization are spawned from the artist's personal experience and observation of changes in the landscape of his native Texas. Graybill's recent series, inspired by inner tubes found floating on the river in New Braunfels, is a series of sculptures that reposition the tubes within the gallery environment. Normally these inner tubes discretely function inside the tires of 18-wheelers; in river towns, however, these industrial materials are recycled and transformed into recreational vehicles for people to leisurely float down the rivers. Through shift in context, from highway to river, Graybill drastically alters the perception and function of these objects. As works of art, these tangled, muscular sculptures take on a bizarre yet poetic existence as they invade the landscape of the gallery.

Over the past five years Lidén had made a number of improvised constructions and video performances that offer basic propositions for ways of living, all of which run sharply counter to the norm. These have included renovating a bunker-like space on the banks of the Spree in Berlin, where she is based, and offering it to whoever cared to stay, setting up an underground postal service that operated briefly in Stockholm, and pasting blank paper over advertising hoardings in Copenhagen. Recalling what Guy Debord famously called 'anarchic urbanism', Lidén's feral actions, although robust, languish towards the bottom of the city's food chain, supported by the DIY practicality of squat-living. For her first solo exhibition at Reena Spaulings in New York, Lidén constructed a loft space from discarded cardboard boxes and piping (Benign, 2004), while in Do Not Cross the Line Blues (2006) a bunk was fashioned from police barriers and woven fabric. In both of these cramped, elevated refuges Lidén cut short any participatory reverie by showing documentation of the gritty surrounding area where the materials were sourced.

Ulrike Müller is a Vienna-born, New York-based artist who, for the past ten years has created a feminist, theoretical, and frankly activist body of work that situates art making as means to (en)action. Müller is deeply involved with both language and body as vehicles of human expression. Through her conscious manipulation of both, she goads viewers to critically examine the motives, as well as the very means, of communication between the artist and the spectator, the speaker and the listener. Since 2005, Müller has been the co-editor of the queer feminist journal LTTR (initials which throughout its many issues have stood for phrases from "Lesbians to the Rescue" to "Lacan Teaches to Repeat.") Instead of protesting what they don't want, Müller and cohort act out what they do want: a feminist ethics for the present.

Alejandro Cesarco, 32, from Uruguay, challenges viewers to seek new meaning behind the texts and images of his works. His diverse projects, consisting of photographs, videos, books and sculpture, address his recurrent interests in repetition, narrative and the practices of reading and translating. With a strong interest in collaboration, he also works as a curator and editor at New York's Art Resources Transfer/A.R.T. Press. His exhibition at Artpace will for the first time unite the different components of a body of work entitled Index (2000-2008). Consisting of an alphabetized list of terms and ideas arranged as if indexing a specific publication, the works are half way biographical and half way theoretical. They are extremely personal, at times even hermetic, yet full of clichés. The exhibition will also present a new film commissioned for the occasion. Entitled The Two Stories, it consists of the reading and telling of a story, with the two narratives overlapping one another. This will be the artist's first solo museum exhibition.

David Zamora Casas (IAIR 95.3) returns to Artpace as the first artist in our WindowWorks series' year-long tribute to past residents. A self-trained painter, Casas also works three-dimensionally and with time-based arts. In addition to oil and acrylic paint, materials such as lace, bones, branches, thorns, fabric, flowers, religious prints and statuary, and images cut and collaged from magazines find their way into his paintings, tableaux, installations, altars, and performances.