rary art without managing to acquire some. And so it is that
Davidow amassed a collection that spans every medium and
style, from figurative work to minimal abstraction. Davidow has been attracted to works that have “winked” at her,
work that is “adventurous and thoughtful, crisp and clever.”
Many of the artists in her collection had their first museum
exhibitions with her. Walking through the halls at ATEC,
with the work of artists such as Linda Ridgway, Ann Staut-berg, Tom Orr, Vernon Fisher, and other stars in the Texas
art firmament, suggests just how good an eye Davidow has
She meticulously oversaw the UT Dallas’s installation
and wrote each label, with didactic information as well as her
own musings on the work. And at the bottom of each one
an engaging question is posed. According to Lisa Kramer
Art Center. She rebranded the organization, transforming it
into the Dallas Contemporary and moved it from its Swiss
Avenue location into the heart of the then-burgeoning
Design District. Her deep-rooted commitment to education
continued to infuse her work. Her educational and exhibition
programs garnered attention nationally and internationally.
It was here that she created ArtThink™, a participatory
program designed to engage students by presenting them with
an image and then asking them to write their impressions of
it. She also changed the way labels were written by including
an open-ended question at the bottom of each one. During
this time, Davidow curated 75 exhibitions and advanced the
careers of 300 artists.
It is impossible to spend so much time around contempo-
Mark Monroe, Time to Go, 1989, mixed media, kinetic, 28 x 24 x 99 in.
and Lawrence Jennings, Submersible, grip tape, acrylic on acrylic sheet,
29 x 29 x 1. 5 in.
Lily Hanson, My Boyfriend’s Record Collection, 2009, wood, fabric, cotton, 47 x 25 x 4 in. and Kirsten Macy, UTD Collection 2006, untitled, oil
enamel on canvas, 72 x 48 in.