While Japanese ceramics do not have the range and technical virtuosity of Chinese works, they are miracles of subtle design. This 17th-century cup from Nabeshima kilns has a most elegant oval, curving form, referred to as a "Chinese bell flower" shape.

Linda Ridgway's delicate, gestural forms are cast from bronze, an inflexible, weighted material. Harvest Line, a double line of green grapes cascading down the gallery wall, combines natural, pliable subject matter with the hardness of industrial process.

For thirteen months, following the lunar calendar, Denton-based artist Annette Lawrence collected and repurposed her junk mail as a record of the time's passage and an archive of her existence through the lens of capitalism.

In Tür Isa Genzken utilizes scale and infrastructure to elevate what appears to be a ruin or accident to monumental status.

In Tiny Dancer, Dallas artist Frances Bagley suggests the human body through semi-abstract forms that she shrouds with an opaque membrane reminiscent of skin or clothing.

Two decades after Eva Hesse created Model for Augment and Aught (1968), Heide Fasnacht spoke of her admiration for Hesse's use of materials and their ability to bypass thought, triggering instead a visceral, physical response.

Vajravarahi is one of the wrathful deities of Tantric Buddhism, and like other dakini (celestial female divinities) she possesses supernatural wisdom and power.

This lokapala (heavenly guardian) sculpture consists only of the head from a full-length wooden guardian figure designed to be placed by the entrance to a shrine or temple.

Following the United States' six-month-long campaign in Tunisia during World War II, nearly 3,000 US soldiers were buried there in an American military graveyard. Seventy-five years later, the fallen soldiers have rested considerably longer in Tunisia than they lived in America.