Exhibition on Display: July 31–Aug. 25, 2025Summer Hours | May 13–Aug. 25, 2025Tues.–Fri. 9 a.m.–5:30 p.m.; Sat. Noon–6 p.m; Closed Sun.–Mon.Regular Hours | Beginning Aug. 26, 2025Tues.–Fri. 9 a.m.–8 p.m.; Sat.–Sun. Noon–6 p.m; Closed Mon. Comprised of lithographs, woodcuts and etchings, this exhibition brings together powerful works that reflect the vital role artists played—and continue to play—in shaping the public consciousness of war and memory. These prints serve as both documentary records and poetic interpretations, capturing not only the devastation and resilience of people and places but also the emotional landscape of a world transformed by conflict. Drawing on Francis Brennan's 1942 call that the American people needed their artists "to charge them with the grave responsibility of spelling out their anger, their grief, their greatness and their justice," the exhibition honors those who responded through the enduring medium of printmaking—bearing witness, telling stories that history books cannot and offering deeply personal visions of collective experience.

The ceremony begins on the day of Silver Taps when the flag in front of the Academic Building is placed at half-staff. Notices are posted at the Memorial Student Center, Evans Library, and at the base of the flagpole in front of the Academic Building. At 10:15 p.m., chimes from the Albritton Bell Tower begin to play. The ceremony begins at 10:30 p.m. as the Ross Volunteers Firing Squad marches in slow cadence to the statue of Lawrence Sullivan Ross. Three volleys are fired. "Silver Taps" is played by six buglers three times – to the North, West, and South. This concludes the ceremony, but not the feelings of respect and honor. With respect, the ceremony of Silver Taps is dedicated to the deceased Aggie and is a solemn and serious event. Some important observances must be remembered:The area in front of the Sul Ross statue and the Academic Building is reserved for the friends and family of the deceased. Aggies do not stand or sit on the benches lining the walkway between the flagpole and the Sul Ross Statue. The darkness and quiet, which cover the campus, emphasize the mood for Silver Taps. Aggies help to retain this tranquility by covering windows, keeping noise to a minimum, and walking to and from the ceremony without talking. The name of the deceased Aggie is posted on the flagpole base during the day of Silver Taps.

Join us for this gallery talk and reception, and view our current exhibition, "Eyewitness to Conflict: Prints Commemorating the 80th Anniversary of the End of WWII." After serving as head of the Air Force Art Collection and organizing a multi-service tribute to honor the combat artists of WWII, Sheryl Fiegel wanted to create a permanent legacy to honor the men and women who served during the greatest conflict of the 20th century. Over a 25-year period, she collected prints by well-known American artists who depicted the home front and the battlefront during WWII through etchings, lithographs and silkscreens. Sheryl Fiegel was born and raised in Texas and is the wife of Texas A&M Former Student, John L. Fiegel '65.RSVPs are appreciated at: TX.AG (http://TX.AG/Fiegel)/Fiegel (http://TX.AG/Fiegel)

The Downtown Bryan First Friday shuttle runs the first Friday of each month. The shuttle will depart from Old Main Dr. starting at 6:00PM, and run every 30 minutes. The final shuttle back to campus will depart from Downtown at 9:30PM.

For Gameday Route information, visit transport.tamu.edu/busroutes (http://transport.tamu.edu/busroutes).

Exhibition on Display: July 31–Aug. 25, 2025Summer Hours | May 13–Aug. 25, 2025Tues.–Fri. 9 a.m.–5:30 p.m.; Sat. Noon–6 p.m; Closed Sun.–Mon.Regular Hours | Beginning Aug. 26, 2025Tues.–Fri. 9 a.m.–8 p.m.; Sat.–Sun. Noon–6 p.m; Closed Mon. Comprised of lithographs, woodcuts and etchings, this exhibition brings together powerful works that reflect the vital role artists played—and continue to play—in shaping the public consciousness of war and memory. These prints serve as both documentary records and poetic interpretations, capturing not only the devastation and resilience of people and places but also the emotional landscape of a world transformed by conflict. Drawing on Francis Brennan's 1942 call that the American people needed their artists "to charge them with the grave responsibility of spelling out their anger, their grief, their greatness and their justice," the exhibition honors those who responded through the enduring medium of printmaking—bearing witness, telling stories that history books cannot and offering deeply personal visions of collective experience.