Issue link: http://papercitymagazine.uberflip.com/i/956460
69 O f course, there will be plenty of returning big names, including Perrotin of the global empire (Paris/Hong Kong/New York and headquarters for installationist Daniel Arsham); Hales Gallery, in from London (its fair solo for Frank Bowling in 2015 is still fondly remembered); and blue-chip Allan Stone Projects of NYC. Last year, the Allan Stone booth stocked names from the art-history books. Bring your wallets: A highlight from 2017 at Allan Stone was a Wayne Thiebaud drawing of a slice of lemon meringue pie with a $425,000 price tag — sweet stuff alongside a cache of Cornell boxes. RETURNING PLAYERS W hile you're in the neighborhood, stroll one block over to the Dallas Museum of Art, where L.A.- based Laura Owens is having a moment. The artist's mid-career retrospective is a challenging, wild ride that subverts the constructs of painting with minimalism, pop, expressionism, and more. Organized by the Whitney Museum of American Art, where the exhibition opened last fall, Owens' works are sly and earnest, beautiful and kitschy. "Laura Owens" at the Dallas Museum of Art, through July 29, dma.org. TEXAS PRIDE D allas dealers always figure in the mix. This year, there are 11 with DFW connections, including returning exhibitors And Now, Conduit Gallery, Cris Worley Fine Arts, Erin Cluley Gallery, PDNB Gallery, Talley Dunn Gallery, Valley House Gallery and Sculpture Garden, Galerie Frank Elbaz, and from Fort Worth, William Campbell Contemporary Art. New arrivals include Bivins Gallery and Liliana Bloch Gallery. Houston gallerists number just two, but have pedigree: Inman Gallery and Sicardi Ayers Bacino Gallery, both fresh from Art Basel Miami. Austin's lone participant brings her A-game: Lora Reynolds Gallery presents design darlings the Haas Brothers, concurrent with a showing of their mega beast in Icelandic sheepskin, King Dong, at The Joule. Recommended: James Cope's internationally curated And Now; painter of portraits Sedrick Huckaby at Valley House; and Talley Dunn always. At Conduit Gallery, pay attention to Tony Sonnenberg's ceramics. Erin Cluley brings Kalee Appleton (19th-century-inspired landscape photography), surrealist abstract painter Anna Membrino, and classic Nic Nicosia. At Liliana Bloch, Leigh Merrill's minimalist photo compositions allude to American cityscapes, while Bivins presents Mary Hull Webster, a pioneer of electronic and sound art. W atch for fair director Kelly Cornell and director of exhibitions Brandon Kennedy to return in leading roles. Dallas Art Fair Foundation boosts its acquisition fund for the Dallas Museum of Art to a hefty $150,000 (from last year's $100,000). John Sughrue told PaperCity in 2017 that he hopes the fund will ultimately hit $250,000. It allows DMA director Agustín Arteaga and curator Katherine Brodbeck to go shopping at the fair for the museum's permanent collection, a novel idea that takes the concept of "institutional support" to a tangible, exciting level. Dallas Art Fair Preview Benefit, set for Thursday, April 12, once again benefits this trifecta: Dallas Contemporary, Dallas Museum of Art, and Nasher Sculpture Center. The fair weekend unfurls the very next day, extending through Sunday, April 15, at Fashion Industry Gallery. (The fair's move to the Dallas Design District may still be more than a year out.) Secure your Patron Passes, dallasartfair.com. E very fair of consequence has an accompanying side or rogue fair. In this case, it's the pop-up curated by Jordan Roth of Ro2 Art. One of the best booths at the 2017 Dallas Art Fair, Roth's salon-style gallery for mostly Dallas talents ended up being edged out by international exhibitors for the 2018 edition. So the intrepid dealer immediately set up a pop-up nearby at 1508 Commerce St., in the Dallas Power & Light Building, where he takes over its lobby of the glorious Art Deco landmark. Watch for Brian Scott of Chuck & George renown; Bumin Kim (you can comb her fiber-based canvases); the frenetic psychedelic painter Jeff Parrott; obsessive Charles Clark with his off-kilter, yet compelling dialogue with Victoriana; and the charmingly clumsy sculptural painted abstractions of Benjamin Terry. Conveniently located across from the hottest party of Dallas Arts Month — Saturday, April 14's by-invite-only Eye Ball — Roth plans to extend his pop-up hours into late night to serve as the non-official host for the Eye Ball After Party. Ro2Art Pop-Up details, ro2art.com. FAIR PRIMER POP-UP AT THE DP&L GIRL POWER AT THE DMA Maryam Hosseini's Liars Don't Know What Time It Is (detail), 2017, at Green Art Gallery Ian Davenport's Cobalt Blue (After Monet), 2017, at Paul Kasmin Gallery Laura Owens' Untitled, 2006, at Dallas Museum of Art