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from the institution's offshoot, Picnic Curatorial. The ironically titled "Feel Good Hit of the Summer" pays tribute to the timeless designs of surfboard shaper Renny Yater (employed to dramatic effect in the 1979 Coppola film Apocalypse Now). Integrating Picnic founder Gregory Ruppe's surf designs with artworks from the Pinnell Robert Rauschenberg, Three Traps for Medea, 1959 "Hunt Slonem: Bunnies, Birds & Butterflies" alights at Dallas Arboretum and Botanical Garden Robert Gober, Untitled, 2000–2001, at The Power Station J oining the parade of global celebrations honoring artist Robert Rauschenberg's 100th birthday, Nasher Sculpture Center mounts "Rauschenberg Sculpture," organized by senior curator Dr. Catherine Craft. The decades-spanning show marks the first museum presentation of the artist's inventive three-dimensional works in 30 years. The exhibition, organized with support from the Robert Rauschenberg Foundation, highlights some two dozen works, dating © ROBERT RAUSCHENBERG FOUNDATION, COURTESY ROBERT RAUSCHENBERG FOUNDATION. COURTESY THE RACHOFSKY COLLECTION Collection — amassed by Power Station founders/Artnews Top 200 collectors Janelle and Alden Pinnell — alongside pieces from Germán Benincore, Gabriel Rico, and Tim Kerr, this group show for our fractious times will be set to a soundtrack by NoSocial. Both shows, April 15 – June 27, powerstationdallas.com. Kendall Morgan Rauschenberg Rising A duo of shows that celebrate the flora and fauna of museum- collected artist, preservationist, and personage Hunt Slonem begin at Laura Rathe Fine Art, where Slonem unfurls his signature neo- expressionist menagerie of birds, bunnies, and butterflies, paired with dreamlike landscapes that reinforce the "Garden Party" theme. Concurrently, Dallas Arboretum and Botanical Garden mounts a riotous installation: Slonem's traveling al fresco show in which mammoth glass bunnies cavort amidst the verdant vignettes of the 66-acre garden along White Rock Lake, joined by totemic toucans and a kaleidoscope of butterflies. The joyful outdoor exhibition, four years in the making, debuted in May 2024 at San Antonio Botanical Garden — a bicoastal exploration of the art of blown glass undertaken by studio teams in New York and Seattle, in collaboration with international artisans and craftspeople. Slonem's often monumental sculptures, encrusted with mirrored and colored mosaic surfaces, dramatically hold court in rooms of nature while giving off disco-ball vibes."Garden Party: Hunt Slonem" at Laura Rathe Fine Art, through May 2; "Hunt Slonem: Bunnies, Birds & Butterflies" at Dallas Arboretum, April 20 – September 30, dallasarboretum.org. Catherine D. Anspon from the 1950s into the 1990s, on loan from the artist's foundation in New York. Showcased are seminal series, ranging from the Combines (memorably, the elemental Three Traps for Medea, 1959, formed from vernacular materials evoking a Gulf Coast fishing trap including metal, glass bottle, string, hair, and plumb bob) to the totemic image-imprinted Moondragger East (Japanese Claywork), 1982. Other standouts include towering wood-and-metal risers topped by a prosaic pair of armchairs, Rabbits Rule The Ancient Incident (Kabal American Zephyr), 1981; and the mod Revolver V, 1967, with its five rotating Plexiglas discs powered by motors, the silkscreened discs rendered in brash Pop colors. The Nasher's sculptural salute to the Port Arthur-born artist bookends The Menil Collection's look at Rauschenberg's "Fabric Works of the 1970s" last fall to forge a fresh centennial take on Rauschenberg's idiosyncratic genius. Through April 26, nashersculpturecenter.org. Catherine D. Anspon 72