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    The Debate Continues...

    The latest chapter of Art Guys Marry a Plant divides Houston arts community

    Tyler Rudick
    Nov 18, 2011 | 9:10 am
    • The Art Guys Marry a Plant
      Photo by Everett Taasevigen
    • The wedding on June 13, 2009, at the Lillie and Hugh Roy Cullen Sculpture Gardenat the MFAH
      Photo by Everett Taasevigen
    • The tree on the grounds of the Menil Collection
      Photo via TheArtGuys.com
    • Wedding cake topper
      Photo via TheArtGuys.com

    This weekend, the Houston art world will add to its annals of art history not one, but two controversial performance pieces — one planted firmly in the "concept" camp with the other touting a solidly "political" angle. The local art community appears equally divided, with many opinions but few individuals willing to go on the record with their gripes.

    The story begins on a sunny Saturday morning in June 2009, when noted Houston art duo, The Art Guys, married a live oak tree in a public wedding ceremony sponsored by the Contemporary Arts Museum Houston. Nearly 600 guests attended the event at the Cullen Sculpture Garden of the Museum of Fine Arts, Houston, including the existing human wives of “Art Guys” Michael Galbreth and Jack Massing.

    This Saturday marks the newest chapter of the Art Guys Marry a Plant piece, as the happily married live oak officially joins The Menil Collection in a public dedication ceremony. The event will place the tree on the grounds of the revered museum, which houses an esteemed collection of works produced by a range of artists, from Max Ernst and Marcel Duchamp to Andy Warhol and Cindy Sherman.

    In the past week, however, Houston Chronicle arts writer Douglas Britt has attempted to redirect attention surrounding the tree dedication with the staging of his own counter marriage (and “swift, amicable divorce”) to Houston art publicist Reese Darby. Titled Art Gay Marries a Woman, the ceremony takes place tonight as a warmup act for an amateur strip contest. Acclaimed artist Dario Robleto has conceived a special "giveaway piece" for the occasion, Britt said.

    "They didn't even maintain a superficial commitment to the tree," Britt told CultureMap in an email exchange. "Menil groundskeepers, not them, will care for it."

    In light of the 2005 Texas ban on gay marriage, the writer views his arrangement with Reese as a legal “gesture of civil obedience” that comments on the manner in which The Art Guys “ignore the social context” surrounding their tree marriage.

    "They didn't even maintain a superficial commitment to the tree," he told CultureMap in an email exchange. "Menil groundskeepers, not them, will care for it."

    Britt spoke out against the Marry a Plant project in 2009, claiming the work “inadvertently reinforces” a slippery slope argument that labels gay marriage as a gateway to allowing people to marry animals and other non-human partners.

    "This is particularly difficult for me as I love The Art Guys," noted Houston gallerist Wade Wilson, "but I am also very committed to civil and human rights for all — without exception. Douglas Britt’s point is well-taken..."

    “Marriage and the ceremony are structures and contrivances that we didn’t invent,” Galbreth said. “[They’re] just the material available to us as artists in a social-sculptural way.”

    Not all people in the arts community agree, however. A number of individuals, all of whom declined to have their names listed, noted a concern about the Art Gay Marries a Woman project’s treatment of Reese, who seems little more than a prop in a performance piece.

    Others questioned the choice of venue, which Britt called his “favorite gay strip club” in a video wedding invitation, feeling the establishment comes off as unfriendly to women. In the end, many suggested, the strip club venue overrides the very attention to "social context" Britt felt lacking in the Marry a Tree piece.

    Dubbed by The New York Times as a cross between John Cage and the Smothers Brothers (as well as "part Dada, part David Letterman"), The Art Guys are notorious for their often silly vaudevillian flair, which sometimes outstages any underlying political or social commentary.

    They've done 24-hour stints as convenience store clerks and plastered themselves in advertising space. They spent the better part of a year "bulking up" for a 1995 exhibition at the Contemporary Arts Museum Houston, with which the Art Guys would organize the 2009 tree wedding with then-CAM-curator Toby Kamps, now the Menil's modern and contemporary art curator.

    "From an historical perspective, The Art Guys have done a lot of quasi-contentious work," said artist and Glasstire news and events editor Bill Davenport. "The fact that they've stepped into actual controversy is somewhat unexpected. I can imagine they're probably somewhat surprised themselves."

    When CultureMap spoke with The Art Guys earlier this week, the artists remained focused on the continued evolution of the Marry a Plant project in terms of conceptual art and welcomed any commentary as part of the piece's full artistic scope.

    “There’s been a lot of conjecture and a lot of writing about this piece,” Michael Galbreth said. “We can’t control what people think. We don’t intend to.”

    “We wish to do our work in the most public of circumstances as often as we can,” he continued, “and then to allow people to think about things themselves and to consider the same things we consider.”

    While both Galbreth and Massing support gay marriage rights, they insist their intent for the project was to use the act of marriage in the broadest sense, an ancient formal union between two abstract entities.

    “Marriage and the ceremony are structures and contrivances that we didn’t invent,” Galbreth said. “[They’re] just the material available to us as artists in a social-sculptural way.”

    He said the concept of marriage in the tree wedding ceremony had little meaning for the artists aside from being "considered an absurd gesture."

    “[People] are welcome to feel as though we’re making fun of gay marriage, which we’re not,” said Jack Massing about the Marry a Plant piece. “That’s definitely there, without a doubt, because it’s about marriage, but marriage in a bigger sense than just gay marriage. There are a lot of other kinds of marriage.”

    In closing, Massing said that an essential part of the piece was the notion of “becoming more aware of your surroundings,” a recurring theme throughout the history of modern performance art.

    The dedication ceremony for The Art Guys Marry a Plant takes place Saturday at 10:30 a.m. in Menil Park, between The Menil Collection and the Rothko Chapel. A reception for the artists’ new Mountains of of Molehills exhibit follows at noon at the Art Guys Studio (5755 Knox).

    Douglas Britt and Reese Darby’s The Art Gay Marries a Woman marriage will be staged on at 10:30 tonight at Tony's Corner Pocket (817 West Dallas).

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    Best May Art

    MFAH's blockbuster modern art exhibit and 7 more openings in Houston this month

    Tarra Gaines
    May 11, 2026 | 12:45 pm
    as Pablo Picasso, Woman in a Multicolored Hat, part of the MFAH's upcoming Picasso–Klee–Matisse: Masterpieces from the Museum Berggruen exhibit, opening May 20
    Image courtesy MFAH
    Museum of Fine Arts, Houston presents Picasso–Klee–Matisse: Masterpieces from the Museum Berggruen (Pablo Picasso, Woman in a Multicolored Hat, 1939, oil on canvas, Museum Berggruen, Neue Nationalgalerie, Berlin. © 2026 Estate of Pablo Picasso / Artists Rights Society (ARS), New York)

    May brings some of the biggest art shows and museum exhibitions of the year to town. Some fly in with patriotic fanfare, while others give us a rare opportunity to gaze at European masterworks. Whether someone is looking for irreverent performance art at the CAMH, wants to get in touch with whimsical spirits at Moody Art Center, buy art for a good cause at Silver Street, or get ready for the World Cup at Sawyer Yards, Houston artists, galleries, and museums have a show for all tastes.

    “Freedom Plane National Tour: Documents That Forged a Nation” at Houston Museum of Natural Science (now through May 25)
    We’ll call this one the art of democracy. This exhibition 250 years in the making might not fit the usual definition of "art," but this touring presentation of Founding-era documents at HMNS has to make this month's must-see list. The National Archives and Records Administration, in partnership with the National Archives Foundation, set aloft this flying tour of some of the nation’s most historical documents, complete with their own plane. Houston is one of only eight U.S. cities where the Freedom Plane will land. The original National Archives records featured in the exhibition are traveling together for the first time. Just some of the historic documents included in the exhibition are an original engraving of the Declaration of Independence; George Washington, Alexander Hamilton, and Aaron Burr’s Oaths of Allegiance, 1778; and the Secret Printing of the Constitution in Draft Form, 1787.

    “As our nation approaches its 250th anniversary, there is no more fitting tribute than bringing these original documents, leaving the National Archives together for the very first time, directly to the American people,” says Joel Bartsch, president and CEO of HMNS. “From George Washington’s oath as a Continental Army officer to the Treaty of Paris that secured our independence, these are not replicas or reproductions. They are the genuine records, and Houston will have the rare privilege of experiencing them in person this May.”

    “20th Annual Empty Bowls” at Silver Street Studios (May 15 and 16)
    For two decades this beloved grassroots fundraising event has given art lovers the chance to pick up one of a kind, handcrafted ceramic bowl-shaped artworks for just $25 dollars each and helped to serve up millions of meals to the hungry. Over the years, Empty Bowls Houston has raised over $1.2 million for the Houston Food Bank. The lunch fundraiser is a collaboration between Houston-area ceramists, woodturners, and artists working in all media and Houston Center for Contemporary Craft. A special ticketed preview party on May 15 will feature light bites, beer and wine, live music, a pottery throw down event with local potters, and a chance to purchase a bowl early before the main event on May 16. Archway Gallery will also host its own annual Empty Bowls exhibition throughout May.

    “No Longer, Not Yet” at Art League (May 15-July 19)
    This exhibition of mixed media and fiber sculptures from Houston-based artist Marisol Valencia is the culmination of Valencia volunteering at a Houston-area shelter serving migrant women and children. To create the works in the show, Valencia uses material imbued with meaning, including fibers sourced from rural Mexican communities where migration often shapes daily life; bedsheets and pillows gathered from the shelter; and porcelain pieces inscribed with collected definitions of “home.” At the center of the exhibition will be a large cascading crochet sculpture made in collaboration with women and volunteers at the shelter.

    “Picasso–Klee–Matisse: Masterpieces from the Museum Berggruen” at Museum of Fine Arts (May 20-September 13)
    Houston claims another first as the MFAH hosts the U.S. debut of this monumental touring exhibition of masterworks by Pablo Picasso, Paul Klee, Henri Matisse, Alberto Giacometti, and other major artists of postwar Europe. The exhibition will also tell the story of influential gallerist Heinz Berggruen and his relationship with the artists and collecting world. From the 1940s into the 1990s, Heinz Berggruen assembled a singular collection of hundreds of modern masterworks, many directly from the artists, and then in 2000, Berggruen placed the collection with the German state. The collection is now housed in the Museum Berggruen in Berlin-Charlottenburg as part of the Berlin State Museums/Foundation of Prussian Cultural Heritage.

    “It is especially rewarding to introduce our audiences to the life and legacy of Heinz Berggruen — a pioneering art dealer, publisher, and collector whom I was privileged to know and work with for more than two decades,” remarks MFAH director Gary Tinterow on bringing the exhibition to Houston.

    “Ballet of the Masses” at Sawyer Yards (May 21-July 25)
    As Houston gets ready for the World Cup, local artists score their own kind of goals with this exhibition of artful soccer balls. Over 40 Houston artists have put a unique spin on a regulation sized fútbol — turning them into sculptural pieces. Organizers will suspend the works from the ceiling of Sabine Street Studios' North Gallery to create a kind of celestial soccer constellation. Together, these works will celebrate the dynamism and joy within sports and art.

    “Never Forgotten” at Sabine Street Studios (May 21-July 25)
    This powerful exhibition comes from a unique collaboration between Texas Center for the Missing, Houston Police Department Forensic Artists, and Sabine Street Studios, all dedicated to bringing the missing home. Three local forensic artists: Thurston Johnson, Bryan Bradley, and Kristen Aloysius have created age-progression portraits of missing persons in the hopes of reuniting families. Beyond showcasing real art, “Never Forgotten” was organized to shine a light on each individual case and continue raising awareness of the missing in our community. Sabine Street Studios will also host special programming in conjunction with the show, including a workshop on forensic drawing and drawing portraits based on memories.

    “Mary Ellen Carroll: How To Talk Dirty and Influence People” at Contemporary Arts Museum (May 22-November 1)
    Acclaimed New York-based conceptual artist Mary Ellen Carroll has spent over four decades crossing disciplines of performance art, photography, architecture, writing, video making, and public art to explore issues of environmentalism, architectural and technological infrastructure, immigration, urban legislation, and identity, as well as tackling fundamental questions of the nature of art. And some of this exploration has taken place in Houston with Carroll’s continual transformation and documentation of a post-war home in the city’s Sharpstown neighborhood.

    This first major museum survey of Carroll’s work takes inspiration from legendary comic Lenny Bruce’s 1965 autobiography of the same name, and emphasizes the irreverent and honest nature of Carroll’s work. The exhibition will bring renewed focus onto some of Carroll’s larger series, for example, “prototype 180,” the Sharpstown project, and “My Death Is Pending… Because,” consisting of separate pieces like video documentation of the artist driving and destroying a 1985 Buick in a demolition derby in 2017 and video of Carroll in a polar bear suit climbing a defunct smokestack in Memphis.

    “Carroll is that unique kind of artist who continually reminds you of the power of art and artists to inspire radical change, in ourselves and the world,” notes senior curator Rebecca Matalon.

    "Shapeshifters, Sprites, and Spirits” at Rice Moody Center for the Arts (May 29 - August 15)
    Delve into a world of whimsical wonder in this new exhibition and the first Texas solo show of acclaimed Japanese artist Masako Miki’s sculptural work and installations. Influenced by diverse artistic movements from European Surrealism to Japanese manga, Miki creates sculptures from felt layered over wood armatures. Once completed, they resemble animated and large scale forms of everyday objects infused with personality and character.

    Miki’s work is also inspired by folkloric traditions, especially Shinto animism and its belief that all beings and things contain a spirit. For the site specific Moody exhibition, Miki has also created works with a focus on yōkai, supernatural entities taking the form of beings, objects, and apparitions, and particularly those that appear in the Night Parade of One Hundred Demons (Hyakki Yagyō), a legend dating to medieval Japan.

    “My characters are ordinary but have extraordinary powers,” describes Miki of her sculptures. “They are secular but are attuned to sacred traditions. As a collective, they advocate for both individual and collective agency, and the importance of stories as unifying systems in today’s complex world.”

    as Pablo Picasso, Woman in a Multicolored Hat, part of the MFAH's upcoming Picasso\u2013Klee\u2013Matisse: Masterpieces from the Museum Berggruen exhibit, opening May 20
    Image courtesy MFAH

    Museum of Fine Arts, Houston presents Picasso–Klee–Matisse: Masterpieces from the Museum Berggruen (Pablo Picasso, Woman in a Multicolored Hat, 1939, oil on canvas, Museum Berggruen, Neue Nationalgalerie, Berlin. © 2026 Estate of Pablo Picasso / Artists Rights Society (ARS), New York)

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