West Town, Wicker Park, Ukrainian Village, Kinzie Corridor, Humboldt Park

West Town

Wisconsin

IL • MI • IN

West Loop, Fulton Market, East Garfield Park

West Loop and West Side

Evanston, The North Shore, Northern, Western and Southern Suburbs

Suburbs

Old Town, Lincoln Park, Lakeview, Roscoe Village, Bucktown, Wicker Park, Logan Square, Lincoln Square, Ravenswood, Uptown, Edgewater, Andersonville, Rogers Park

North Side

Michigan Avenue, Streeterville, The Gold Coast, The Loop, and South Loop

Michigan Avenue

Pilsen, Bridgeport, Chinatown, plus Hyde Park, Jackson Park/Dorchester, and Bronzeville

South Side

Superior and Franklin streets, West Chicago Ave, and down to Merchandise Mart and the River

River North

The Lena Meijer Tropical Conservatory is transformed into a vibrant sanctuary filled with thousands of tropical butterflies, creating the largest temporary tropical butterfly exhibition in the United States and one of Meijer Gardens’ most anticipated annual experiences.

Fred & Dorothy Fichter Butterflies Are Blooming

This exhibition of watercolors by John David Mooney captures the quiet power of the Irish landscape. Rooted in observation, Mooney's works evoke the elemental qualities of Ireland.

Irish Watercolors by John David Mooney

In April, we'll be exhibiting new work from&nbsp;represented artist David Keel.&nbsp;Described as dreamlike, haunting, colorful, nostalgic, and whimsical, David's paintings evoke a variety of reactions and interpretations.&nbsp;

David Keel: The View From Here

<h2>Kate Goodvin: Trust Fall</h2> <h4>Exhibition Dates:&nbsp;April 6–May 1, 2026</h4> <h4>Reception:&nbsp;Friday, May 1, 5–8 pm</h4> Tandem Press is excited to host&nbsp;Trust Fall, a Master of Fine Arts Qualifier Exhibition by Kate Goodvin, University of Wisconsin-Madison MFA Candidate and 2025-2026 Tandem Press Studio Project Assistant. By merging printmaking, painting, and collage, Kate Goodvin creates monumental self-portraits that chronicle the evolving story of becoming. Her work is shaped through the perspective of a Gen Z woman growing up amid the digital transformation of contemporary life and coming of age during a period marked by increasing uncertainty. Goodvin’s practice examines how distinct eras of our lives are shaped and defined by pop culture movements, media saturation, music, and the broader political, environmental, and sociological climates that surround us. Deeply personal and rooted in self-discovery, she looks inward to uncover reflections of a broader shared condition, capturing the intimate process of navigating identity in a rapidly shifting world. This exhibition is supported by the Anonymous Fund. More information and installation images coming soon.

Kate Goodvin: Trust Fall

Bert Leveille’s Waterfall Portals examines human connection to the earth, each other, and consciousness. In this installation piece, animated, otherworldly “mindful beings” travel the waterfalls of the universe like portals, imploring viewers to question where they go and what knowledge they can access through their multi-dimensional travels. <a href="https://newgallery.online/bert-leveille-waterfall-portals" rel="noopener noreferrer" target="_blank">https://newgallery.online/bert-leveille-waterfall-portals</a> <a href="mailto:info@artcitychi.com" rel="noopener noreferrer" target="_blank">info@artcitychi.com</a>&nbsp;| (312) 690-9634Gallery is Open: Fridays, April 17 &amp; 24&nbsp;from 5-8 PM, Closing reception: Friday, May 1st from 5-9PMExhibition can also be viewed from the street&nbsp;at night&nbsp;or by appointment (email:&nbsp;<a href="mailto:reevah@newgallery.online" rel="noopener noreferrer" target="_blank">reevah@newgallery.online</a>)Image Credit: Courtesy of the artist

Bert Leveille: Waterfall Portals

ENGAGE Projects is excited to bring a fresh take to the gallery experience with the upcoming exhibition Moonlight: Out of the Chaos in Chicago’s historic Bucktown district. The pop-up show, organized by Director of ENGAGE Projects Jennifer Armetta, curator Nora Schneider, interdisciplinary artist Kasia Kay, and sculptor Lucy Slivinski, is a rumination on feminine forces and cyclical change, imperfection and inner peace. Just as the moon reflects the sun’s light, it also represents a reflection on our own lives, choices, and the state of the world around us; Moonlight asks the questions, How do we find the calm amidst turbulent times? What is my guiding light in the darkness? The gallery will showcase a variety of sculpture and mixed media painting and will be host to a series of exhibition programming made to activate this space of community including cocktail hours, panel discussions, and community gatherings. Please join us on Thursday, April 9th from 5-9pm for the opening celebration! Interested in introspection and identity, Kasia Kay is a Polish American painter and sculptor who splits her time between the United States and Poland. She earned her B.F.A. from Columbia College Chicago in 2004 and acquired expertise in metal casting at the Chicago Industrial Arts and Design Center in 2017. Kay has exhibited in solo and group exhibitions across Belgium, Germany, Greece, Italy, and the United States, and her works are included in collections in Europe and the U.S. A seasoned curator, Kay has curated numerous international group exhibitions and site-specific projects in major cities such as Athens (Greece), Chicago (U.S.A.), Miami (U.S.A.), and New York (U.S.A.), contributing to the global art community. Kasia Kay has been featured in Artnet News, :arte Venice, Newcity Art, Chicago Gallery News, Chicago Interiors, and The New York Times among other publications.Lucy Slivinski is a sculptor and installation artist based in Chicago. With over 40 years of experience, she utilizes recycled materials and inventive processes in her life-long practice. Slivinski holds an MFA from Cranbrook Academy of Art and a BFA from Northern Illinois University. Her innovative approach to art has earned her numerous honors and opportunities including her installation “Bon Journée! In the Land of Love,” at Nick Cave’s exhibition space Facility in 2025, the solo exhibition “Passion Dance”at N’Namdi Center for the Arts in 2023 in Detroit, Michigan, and three years as the artist in residence at EXPO Chicago where she created large-scale light installations among other opportunities. Her work is part of many private and public collections including Capital Investments Collection, The Longhouse Collection in New York, the City of Chicago, City of Bolingbrook, Illinois, and the City of St. Cloud, Minnesota. Slivinski’s work has been featured in prominent publications such as Art in America, The New York Times, NewCity Magazine, The OG Magazine, Sculpture Magazine, Chicago Interiors, and Luxe Magazine.Based in Chicago, Nora Schneider is an interior designer, curator and patron of the arts. She attained her Interior Design degree from The Harrington School of Interior Design in 2000 and formed her firm that same year. Schneider believes interior design should be as unique and diverse as its inhabitants and that art enhances everything. A core principle of her practice is to create an exceptional design experience that has your living space mirror not only who you are, but enhance the way you live. Her award-winning designs have been featured in LUXE Magazine, Modern Luxury Interiors, Sophisticated Living, The Chicago Tribune and ABC News, to name a few.ENGAGE Projects is committed to supporting our local arts community and elevating artists and patrons alike. Our mission aims to bring art to the Chicago community and beyond, eliminating boundaries and making it possible for everyone to live with art. For more information about our mission, please visit engage-projects.com.

MOONLIGHT: Out of the Chaos

Healing Together: The Artwork of TIERRA&nbsp;features artwork created by facilitators of and participants in the TIERRA program—Transforming Internal Experiences for Resilience and Restoration through Acceptance—a research-informed, nature-based training program that supports Community Health Workers serving communities across Lake County, Illinois. TIERRA equips Community Health Workers with tools to address the interconnected challenges of trauma, health disparities, and environmental injustice. Rooted in mindfulness, restorative practices, and the healing presence of nature, the program creates space for participants to explore their own experiences while strengthening their capacity to care for others. Through visual art, reflection, and creative expression, participants in this program have translated their personal and professional journeys into powerful works that speak to resilience, healing, and connection to the land. The pieces on display offer insight into the inner landscapes of those working at the front lines of community health. These are individuals who navigate complex social and environmental challenges while supporting the wellbeing of others. Created during guided sessions that integrated nature observation, contemplative practice, and artistic exploration, the artworks reflect themes of renewal, rootedness, and collective care. Plants, seasonal cycles, and the natural rhythms of the landscape serve as both inspiration and metaphor for growth and restoration. By sharing these works with the public, the exhibition honors the vital role Community Health Workers play in building healthier, more equitable communities.

Healing Together: The Artwork of TIERRA

Perspective Gallery is proud to host “Teaching,” Nelson W. Armour’s ode to classroom teachers. Resulting from a two-year residency with “<a rel="noopener noreferrer" href="https://perspectivegallery.us3.list-manage.com/track/click?u=04a588cae42ffc5c2d944d823&amp;id=8c7e2f36fa&amp;e=49b9939ea4" target="_blank">Artists in the Public Schools, formerly CPSLIves</a>,” the project examines teaching and what it means to be a teacher. This photographic essay is an homage to the challenges, triumphs, hard work and effort of teaching, from the small details to the big picture.&nbsp;“Teaching” opens on Thursday, April&nbsp;2, 2026&nbsp;with an Opening Reception on Saturday, April 4, 2026 from 5- 7 PM. The exhibit runs through Sunday, May 3, 2026. A Virtual Artist’s Talk will be held on Thursday, April 16, 2026 at 7 PM. To register for the talk, go to Perspective Gallery’s website,&nbsp;<a rel="noopener noreferrer" href="https://perspectivegallery.org/april-2026" target="_blank">https://perspectivegallery.org/april-2026</a>.&nbsp;Armour was privileged to follow three teachers over two school years in two Chicago Public Schools, the Lázaro Cárdenas Elementary School in the Little Village area of Chicago (2021-22 school year) and the Michele Clark Academic Prep Magnet High School in the Austin neighborhood (2023-24 school year). This project, sponsored by&nbsp;Artists in the Public Schools, documents how teachers engage and relate to their students as individuals and classes.Above image - Teaching #20

Teaching

A beautifully crafted object can enhance any home or workspace. From a mug for your morning coffee, a plate for your toast, a bowl for your favorite soup, a rocking chair to relax in, a colorful pottery jar for storage, a contemporary hand-blown glass vase, and a woven textile are not just art pieces, but also practical items that can be used in our daily lives. Art can be all around us in the form of these functional pieces that make our spaces fun.The exhibition will showcase artwork from over 30 artists, many from Illinois.Fine Line will host an in-person reception on Thursday, March 26, from 6:00 to 8:00 PM to officially open the show, with several of the participating artists in attendance. As with all Fine Line gallery receptions, this event is free and open to everyone. Light refreshments will be served during the evening.

Home Improvements: The Functional Art Show

ART HAS POWER! To transform, heal &amp; ignite us! It's just the prescription we need sometimes to bring us back to our human self. Come for a visit! Our spring show opening coincides with art EXPO CHICAGO. We are located just 1 mile from Navy Pier and nestled between Michigan Ave. &amp; the Northwestern medical complex in the newly landmarked 161 East Erie Row.

Art Prescriptions

April showers brings us a solo show with&nbsp;<a href="https://www.manvshadow.com/erik-jon-olson-shadowboxx-collective-artist" rel="noopener noreferrer" target="_blank">Erik Jon Olson, ShadowBoxX Collective Artist</a>. Olson is renowned for his unique large-scale artwork that uses quilted plastic waste to illustrate the amount of waste material we produce, prompting viewers to reconsider and reevaluate their relationships to plastics. His work also addresses how our unfettered capitalism and mass consumption can waste our natural resources and damage our society.An ethos of minimal waste permeates Olson's creative process. Each piece is constructed of eight to 12 layers of used single-use plastic, which he quilts together using his grandmother's circa 1960 sewing machine. He uses overstock and leftover thread, plus scrap materials from his own production process. Schedule a Viewing (through 5/9)&nbsp;<a href="mailto:mev@manvshadow.com" rel="noopener noreferrer" target="_blank">mev@manvshadow.com</a>

What A Waste: Erik Jon Olson

Joy Machine is pleased to present Life Forms, a solo exhibition by Janny Baek, on view from March 20 to May 9, 2026.How do we conceive of change? With fear, excitement, or uncertainty? As Janny Baek builds sculptural ceramics of speculative beings and imagined landscapes, she grapples with these questions. The work follows its own dream logic, one that accepts incongruity and dissonance as necessary to play and experimentation. Marbling hunks of colored clay, coiling bases, and molding a singular material into something new is part of an exploratory practice that embraces transformation and its often strange outcomes. Life Forms emerges from this dual meaning, invoking both the act of creation and the fantastical works it produces. Neither wholly abstract nor representational, Baek’s sculptures draw on natural structures and processes and invite us to question how we interpret the world around us. Recognizable forms like open blossoms, birds, and creatures are met with the unexpected. These lively components make even the more abstract works appear animate, like ambiguous organisms that might decide to scuttle away. They evoke something primordial and yet are exhilaratingly new. Baek paints in the way she sketches, as a means of developing ideas and visualizing their potential. For her ceramics, she incorporates hand building alongside the Japanese pottery technique known as nerikomi, which involves splicing and designing patterns with strips of colored clay. “My material choices are a way of thinking about natural processes: color gradients as the continuous nature of change, a multitude of colors as potential, abundance, and vitality, and patterns as signals and communications,” she says. Hovering between worlds, Baek’s work populates a speculative environment in which beings morph, mutate, and blossom, their individual features forming an otherworldly lineage that’s recognizable but not identical. While “temporarily and imperfectly captured in a moment of many possible transformations,” the works beckon us into a world in which change is not only inevitable but also the most alluring proposition. Life Forms is Baek’s Chicago debut.An opening reception will be held on March 20, and the artist will be present.About the artist: Janny Baek is an artist and architect born in Seoul, South Korea, and raised in Queens, New York. She received her BFA in ceramics from Rhode Island School of Design, and worked as a sculptor in animation and toys before completing her Master's in Architecture at Harvard University. Baek brings her experience as a sculptor, designer, and architect to her ceramics today. After founding her firm, McMahon-Baek Architecture, in 2014, she returned to the medium in 2019. Her work is part of the collection of the Museum of Arts and Design in New York and has been shown at the Houston Center for Contemporary Craft, the Korea Society, and the Korea Ceramics Foundation, among others. Baek currently lives and works in lower Manhattan with her husband and their two daughters.

Janny Baek: Life Forms

moniquemeloche is pleased to present&nbsp;<a href="https://t8j4tqkab.cc.rs6.net/tn.jsp?f=001WFlU7W4LTgFBZidKvGk-GMgbTatLhIXDTDXTK7jM8dY5sXLY5vpWufokFIa7-Z6v2vm297gYuvzgHTc8bGuPIqYu2PYKarZUIwHeonRf9aDMhVCUExLDMYQiYZboyIRyz2htSIRpgHIpfTxEtLmZnSrxr9EDh7fZL5qJE2UvkihBOI7HJ2KYRw7ZsrKrz2Z1QVkjlvVuZDTH0K3qJ9qYwHtwBTcLSUWPjfK0-1R_74B5XFf3Oo8Xv0sxr0jR-Cv3&amp;c=nGgkeIwsfe9UL_xZO-29WGl_5YmQl-Fb87vI_J3KXBCesriRu7ojjA==&amp;ch=SqAS8I_H4_Ti55iNuqtnnuQW4QQbfns99j50vPiFwtDgQRNrLubvFw==" rel="noopener noreferrer" target="_blank">ALL THERE IS</a>, an exhibition of new works by&nbsp;<a href="https://t8j4tqkab.cc.rs6.net/tn.jsp?f=001WFlU7W4LTgFBZidKvGk-GMgbTatLhIXDTDXTK7jM8dY5sXLY5vpWuWHJ4Y7pHsvo9-PqZCzuP8QYWuRQAzr81_5O_kp4ZZWxaSmJAQ0oU6eQcu7ZgPozb2UFmmyR4KoSC5kSX-Cr9pVVxkszVVuNsplBIVabSYNdjJp4hXyMufZ0vQBHBRLwMq889KE6gCfQC7mxeVjQOfAF8jOUlqOLxg==&amp;c=nGgkeIwsfe9UL_xZO-29WGl_5YmQl-Fb87vI_J3KXBCesriRu7ojjA==&amp;ch=SqAS8I_H4_Ti55iNuqtnnuQW4QQbfns99j50vPiFwtDgQRNrLubvFw==" rel="noopener noreferrer" target="_blank">Cheryl Pope</a>. Pope is an interdisciplinary visual artist whose intimate studio practice centers on textile “paintings.” Working with needle-punched wool roving on cashmere, Pope creates richly tactile works that translate the language of painting into fiber, using material, texture, and color to explore memory, relationships, and the poetics of everyday life. For the artist’s seventh solo exhibition at the gallery,&nbsp;ALL THERE IS&nbsp;debuts a new body of landscape works that explore the spiritual and emotional resonance of the land as a site of recollection, silence, and shared human experience.&nbsp;The artist began this series after a residency at the Contemporary African Museum in Marrakech, Morocco, where travels to the Atlas Mountains and desert terrain evoked an immediate sense of recognition and belonging. Upon returning home, Pope continued her journey to the Abiquiú region of New Mexico, a site that carries familial resonance for the artist, where summers were spent by her father and grandmother. Together, these experiences, while separated by geography, awakened a mystical stillness inside the body, initiating a broader connection to the universality of the landscape. While Pope’s earlier works centered the physical body as a site of identity, vulnerability, and care, from her early work with underrepresented youth, to deeply personal reflections on love and family, to her celebrations of the female body, these new landscapes suggest the body has not disappeared but expanded, shifting from the visibility of the figure toward a more esoteric understanding of how human experience is embedded within the landscape.Drawing from modernist painting, slow cinema, and contemplative poetry, the works approach landscape as a site where emotional, geological, and psychological states converge. Art historically, Pope draws from traditions that understand landscape not as scenery but as a living presence. Like Georgia O’Keefe, Pope’s landscapes strip away narrative figures to focus instead on the inner architecture of place. The compositional clarity of Pope’s landscapes also recalls Roger Brown’s distinctive visual language, particularly his use of stacked horizons, simplified forms, and rhythmic patterning. Materially and formally, the works embrace a process of attentive listening. Shapes derived from photographic studies are reworked through memory and intuition, becoming compositions that emphasize rhythm, vibration, and the relational nature of color and texture. Unfolding in undulating strata, layers of ochre, sand, umber, and clay mix with unexpected bands of lavender, pink, sage, and deep green, suggesting both environmental time and a thoughtful color sensibility. The artist describes the process as closer to composing music than painting: each mountain functions as an instrument, its tones and tactile surfaces forming part of a larger symphony of land, light, and archeological record. Here, Pope’s wool fibers act almost as sediment deposits, a buildup only achieved by slow labor – literal time embedded in material.&nbsp;The title,&nbsp;ALL THERE IS,&nbsp;refers to a personal family story; words that were carved by the artist’s grandmother inside the wedding band of her grandfather. These words are a small but profound gesture that holds both intimacy and universality, and a candid confrontation to the bare truth of it all: that beneath the layers of narrative, culture, and history, the land remains vast, silent, and enduring. Here, Pope translates the emotional concerns that have long defined her practice, from intimacy, vulnerability, caregiving, and connection into geological form, where layered terrains become metaphors for the ways love accumulates, transforms, and endures.<a href="https://t8j4tqkab.cc.rs6.net/tn.jsp?f=001WFlU7W4LTgFBZidKvGk-GMgbTatLhIXDTDXTK7jM8dY5sXLY5vpWufokFIa7-Z6v2vm297gYuvzgHTc8bGuPIqYu2PYKarZUIwHeonRf9aDMhVCUExLDMYQiYZboyIRyz2htSIRpgHIpfTxEtLmZnSrxr9EDh7fZL5qJE2UvkihBOI7HJ2KYRw7ZsrKrz2Z1QVkjlvVuZDTH0K3qJ9qYwHtwBTcLSUWPjfK0-1R_74BR07-C_gW1UH9XbDqtJtyg&amp;c=nGgkeIwsfe9UL_xZO-29WGl_5YmQl-Fb87vI_J3KXBCesriRu7ojjA==&amp;ch=SqAS8I_H4_Ti55iNuqtnnuQW4QQbfns99j50vPiFwtDgQRNrLubvFw==" rel="noopener noreferrer" target="_blank">Learn more</a> Cheryl Pope,&nbsp;TEACH ME HOW TO BE VULNERABLE&nbsp;(detail), 2026

Cheryl Pope: ALL THERE IS

Material Memory&nbsp;explores how knowledge, history, and cultural memory are carried through objects and the act of making. Bringing together four artists working in ceramics, fiber, tapestry, and print, the exhibition centers analog processes, material investigation, and the slow accumulation of gesture and meaning.Through hand-built ceramics, bead-encrusted vessels, pony-bead tapestries, and meticulously carved relief prints, the artists in&nbsp;Material Memory&nbsp;examine how culture and personal histories are inherited, learned, and reinterpreted through labor, repetition, and intimate engagement with material. These works ask viewers to consider how objects embody memory, mediate identity, and carry stories across generations.Featuring:Chris Salas&nbsp;(Ceramics)Salas’s hand-built ceramic forms emerge through intuitive, iterative processes informed by personal relationships, historical research, and the ongoing legacy of colonization in the Americas. Clay becomes a vessel for cultural reckoning, holding layered histories through time-intensive making and surface.Katie Mongoven&nbsp;(Fiber, Beading)Mongoven transforms found blue-and-white ceramic vessels with intricate beadwork and embroidery. Her labor-intensive practice explores diasporic memory, identity reconstruction, and the reclamation of Orientalist objects through touch, repetition, and bodily presence.akeylah wellington&nbsp;(Sculpture, Tapestry)Wellington’s pony-bead tapestries and mixed-media sculptures blend humor, endurance, and personal history. Drawing on childhood imagery, early digital culture, and found materials, her work preserves stories of displacement, resilience, and generational inheritance.Ramiro Rodriguez&nbsp;(Printmaking)Rodriguez’s woodblock and linoleum relief prints document familial and cultural narratives rooted in Mexican-American print traditions. Through carving and layered printing, his work embeds memory, transformation, and inherited knowledge into the physical act of making.Together, the artists in&nbsp;Material Memory&nbsp;use material as language—foregrounding slow, analog processes as acts of remembering, learning, and transmission. Their works are deeply personal yet culturally resonant, tracing the invisible threads of inheritance that bind past, present, and future.

Material Memory

Woman Made Gallery is pleased to announce&nbsp;<a href="https://womanmade.us10.list-manage.com/track/click?u=77610ec6940e4a7c0d652a863&amp;id=349683bcce&amp;e=a3993dd90f" rel="noopener noreferrer" target="_blank">Seeds of Resilience</a>, a multidisciplinary art exhibition featuring work by 41 artists.&nbsp; Curated by Monica J. Brown and Nora Moore Lloyd,&nbsp;Seeds of Resilience&nbsp;brings together women and non-binary artists whose works explore how personal, cultural, and ecological survival are deeply intertwined. Centered on themes of environmental justice, ancestral memory, and the intimate relationship between care and resistance, the exhibition takes the seed as its guiding metaphor.<ul><li>Opening reception on Saturday, April 11, from 4–7 p.m.</li><li>Closing Reception with Artist Walkthrough on Saturday, May 9 from 2–4 p.m.</li></ul> EXHIBITING ARTISTSBrooke Bartholomew, Sharon L Bjyrd, Sharon Bladholm, Gabriella Boros, Julia Bustos-Vasquez, Julie Carpenter, Emily C-D, Lynn Cox-Winston, Sharmon Davidson, Victoria Fuller, DiDi Grimm, Senyah Haynes, Lisa Marie Phoenix Jackson, Natalie Jackson, Adia Jamille, Linye Jiang 江麟冶, Joi, Lilly Kim, Yuliya Klochan, Sarita Kvam, Tulika Ladsariya, Beatriz Ledesma, Andi Linden, Marian Lyndgaard, Lauren Macklin, Erica Moriarty, Stephanie Mulvihill, Andryea Natkin, Courtney Nzeribe, Pamela Penney, Laurie Peters, Leah Schenbaum, Erin K. Schmidt, Piper Snowber, Dorothy C. Straughter, Harriette Tsosie, Chanya Vitayakul, Gail Wagner, Joan Wheeler, Marjorie Woodruff, Stella Zee CURATING TEAMMonica J. Brown&nbsp;is a Chicago-based multidisciplinary artist whose work explores memory, history, and personal mythology through visual art, sound, movement, writing, and performance. She has exhibited widely across the U.S. and internationally, completed prestigious residencies, and received grants from the Chicago Department of Cultural Affairs and the Illinois Arts Council Agency.Nora Moore Lloyd&nbsp;(Lac Courte Oreilles Band of Lake Superior Ojibwe, born 1947) is a multidisciplinary artist whose photography and videography center Indigenous storytelling, elder voices, and traditional cultural practices. A longtime member of Chicago's Native American community, she has exhibited at major institutions including the Field Museum, the Chicago History Museum, and The Block Museum of Art. VISIT&nbsp;<a href="https://womanmade.us10.list-manage.com/track/click?u=77610ec6940e4a7c0d652a863&amp;id=bf2a429fb7&amp;e=a3993dd90f" rel="noopener noreferrer" target="_blank">THIS EXHIBIT</a>&nbsp;AT WOMAN MADE GALLERYAddress: 1332 S. Halsted St, ChicagoHours: Wednesday through Sunday from 12 to 5 p.m. Image: artwork by&nbsp;<a href="https://womanmade.us10.list-manage.com/track/click?u=77610ec6940e4a7c0d652a863&amp;id=bf6c1a7f6a&amp;e=a3993dd90f" rel="noopener noreferrer" target="_blank">Emily&nbsp;C-D</a>)

Seeds of Resilience

This exhibition is a collaboration with Loyola University's Fine Arts Division, including student and faculty work from both institutions.&nbsp;The show will feature works that convey meaning through embodied art practice. Pieces that explore the rich history, tradition, and cultural expression of contemporary sculpture, including ceramics, glass, and stone, as well as innovative, reinterpretative sculptural works using non-traditional materials that push the boundaries of visual art.

Material Inquiry

Krasl Art Center presents&nbsp;Malcolm Taylor: Prologue, The State of Play, on view February 7 through May 10, 2026 in the ArtLab. The exhibition opens with a free public reception on Thursday, February 6, from 6 – 8 PM.The State of Play&nbsp;marks Benton Harbor–based photographer Malcolm Taylor’s first gallery exhibition, offering an adventurous exploration of storytelling through action figure photography. Taylor stages intricate miniature sets and captures them in vivid, cinematic photographs that blur the line between play and narrative. Featuring characters drawn from comics, video games, and popular culture, the works are infused with humor, nostalgia, and imagination, inviting viewers into fully realized worlds at a toy-sized scale.

Malcolm Taylor: The State of Play

<a rel="noopener noreferrer" href="https://www.hydeparkart.org/" target="_blank">Hyde Park Art Center</a>, the renowned non-profit hub for contemporary art located on Chicago’s vibrant South Side, is proud to announce&nbsp;Yoonshin Park: Prompt and Prompted, an exhibition highlighting the artist’s, as well as her students’, experimental ways of creating artist books that push the boundaries of what books can be. On view from&nbsp;January 24-May 10, 2026,&nbsp;the exhibition offers hands-on experiences for the audience to make their own artist books on multiple dates throughout the duration. Both the exhibition and the public programs are free and open to the public. An artist book is an artwork that reimagines or transforms the form, function, or concept of a book into an expressive medium. For more than two decades, Park has used artist books as an experimental form and conceptual space to expand what books can be. For Park, the medium offers freedom that invites alternative ways of living other aspects of life, and invites the audience to live their lives as expansively as Park defines artist books. This exhibition presents new works that further her exploration of artist books as spatial, symbolic, and participatory sites capable of engaging notions of memory, marginality, translation, and transformation. More than a creator, Park is an arts educator of the medium. Since 2019, she has been teaching courses on artist books virtually through the Art Center’s Oakman Clinton School + Studios, and has found her practice of teaching to be as generative for her as it is for her students. The title of the exhibition refers to the reciprocal exchange that takes place in Park’s classroom. The exhibition includes artworks by 12 of Park’s students, including Kimberly Bailey, Miriam Bisby, Priya Deb, Devie Dragone, Bryne Hadnott, Rebecca Kelly, John Michael Korpal, Carol Lett, Camille Levi, Sumiah Salloum, Virginia Van Vynckt, and Max Washington. Park shares how this presentation differs from past work: “This exhibition marks a shift in my practice from intimate, book-inspired gestures to spatial and communal forms, allowing me to explore how books can extend beyond the page. I hope visitors experience the work as an invitation to engage with their own stories and with spaces—both in books and in the gallery—in new ways, noticing how meaning and connection can emerge through shared interaction.” Free public programs include the following:Wednesday, January 28, 1pm Artist-led workshopWednesday, February 11, 1pm Artist-led workshopThursday, February 19, 6pm Artist talk with Yoonshin Park and curator Mariela AcuñaWednesday, February 25, 1pm Artist-led exhibition walk-throughWednesday, March 4, 1pm Artist-led workshopWednesday, March 18, 1pm Artist-led exhibition walk-throughSaturday, April 4, 1-4pm Center Day workshop led by one of Park’s students, John Michael KorpalWednesday, April 8, 1pm Artist-led workshopWednesday, April 22, 1pm Artist-led workshopWednesday, May 6, 1pm Artist-led exhibition walk-through This exhibition was curated by Mariela Acuña, art center Director of Exhibitions and Residency, and produced by Tran Tran and Liang-yu Huang, with fabrication support provided by Huang.&nbsp; <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1771018610/l1mhn1jbmv7qkttusjfz.png"> ABOUT THE ARTISTBorn in Seoul, Korea, Park now resides in Chicago. She has participated in residencies including the HATCH Residency at the Chicago Artists Coalition and Hyde Park Art Center’s Center Program. She teaches at both the School of the Art Institute of Chicago and Hyde Park Art Center, and in 2024, served as curator and facilitator for the Hyde Park Art Center’s Bridge Program. Park has exhibited at the Ukrainian Institute of Modern Art, Northeastern Illinois University Fine Arts Center Gallery, Beverly Arts Center, Evanston Art Center, Riverside Art Center, Pablo Center and the AIR SPACE at Saint Kate Hotel in Wisconsin, and Simyo Gallery in Seoul, Korea, among others. She is represented by Zolla/Lieberman Gallery in Chicago. ABOUT THE HYDE PARK ART CENTERHyde Park Art Center, at 5020 South Cornell Avenue on Chicago’s vibrant South Side, is a hub for contemporary arts in Chicago, serving as a gathering, production, and exhibition space for artists and the broader community to cultivate ideas, impact social change, and connect with new networks. Since its inception in 1939, Hyde Park Art Center has grown from a small collective of artists to establishing a strong legacy of risk-taking and experimentation, emerging as a unique Chicago arts institution with social impact. Today, the Art Center offers a diverse suite of programs for artists and art lovers of all backgrounds, ages, and stages in their careers including: contemporary art exhibitions in six galleries; an open-access community-based school with 2,000 annual enrollments; weekly arts education to 1,000 elementary school students in public schools; weekly and summer teen programs for 100 teen artists; professional-advancement programs for artists; a local and international artist residency; and public programs that connect residents with Chicago art and artists. The Art Center’s Oakman Clinton School + Studio is the nation’s first fully contribute-what-you-can visual art school for all ages. The Art Center functions as an amplifier for creative voices of today and tomorrow, providing the space to cultivate new work and connections. For more information, visit<a rel="noopener noreferrer" href="https://www.hydeparkart.org/" target="_blank">&nbsp;www.hydeparkart.org</a>.

Yoonshin Park: Prompt and Prompted

Special Event on Mothers Day (May 10)Deb Koo&nbsp;is an oil painter based in Charlotte, North Carolina, whose work reflects a refined balance between cultural perspective and painterly experimentation. She began her formal art studies at Smith College and went on to earn her MFA in Western Painting from Ewha Womans University in Seoul. A member of the Goodyear Arts Collective and a professor of art at Rowan-Cabarrus Community College, Koo actively contributes to Charlotte’s creative community. Her work has been exhibited locally at Goodyear Arts, LaCa Projects, Sozo Gallery, and The Mint Museum Randolph, as well as nationally and internationally at Lorin Gallery in Los Angeles, Tchotchke Gallery in New York, and Delphian Gallery in London.

Material Offering by Deb Koo

Mason Pott, born and working in Chicago, is a fine artist whose practice centers on traditional oil painting with a contemporary sensibility. Known for his vivid explorations of florals and color theory, he approaches each work with a deeply considered, multidisciplinary process.&nbsp;Every painting begins with a carefully staged, high-quality photoshoot of a floral arrangement—an essential step in&nbsp;shaping the composition, lighting, and emotional tenor of the&nbsp;final piece. From there, Pott hand-cuts an aluminum panel to&nbsp;echo the contours of the bouquet, creating a sculptural support&nbsp;that blurs the line between painting and object.This integration of form and subject transforms the still-life&nbsp;tradition, inviting viewers to engage the work as both image and&nbsp;physical presence. Pott’s practice reflects his belief in the&nbsp;interconnectedness of craft, intuition, and design.&nbsp;His meticulous attention to color relationships animates the&nbsp;surface of each painting, resulting in works that feel simultaneously timeless and distinctly of the present.&nbsp;He received his BFA from the University of Illinois at Urbana-Champaign in 2015.Image: Color Field [Purple &amp; Crimson} with Kale &amp; Grapes,&nbsp;2025, Oil on custom cut aluminum panel, 26 x 38 in., 66 x 96.5 cm

Chromatic Fields by Mason Pott

<a rel="noopener noreferrer" href="https://www.jmkac.org/exhibition/a-beautiful-experience/?utm_medium=email&amp;_hsenc=p2ANqtz-_TAgiwr9CcUCqp8PARBnetZDmy4oA4M6rKVEblEJGj0fYaKmL0n8Naot67z_PVofiAcW7Sb0wnbX5AHJQODsWXa0U2UYeyKUnYSDhaHXxDMn2lHxQ&amp;_hsmi=343424237&amp;utm_content=343424237&amp;utm_source=hs_email" target="_blank">Details</a> A Beautiful Experience: The Midwest Grotto Tradition&nbsp;takes its title from a slogan found on years of brochures, maps, and swag from the Dickeyville Grotto in Wisconsin. It is one of several grottoes found throughout the region. These sites began to inspire pilgrimage, tourism, reflection, and community gathering during the 1910s. This exhibition looks at their continuing influence on artists and visitors alike. Materially, midwestern grottoes often reflect local industries, decorative trends, and an area’s geological makeup. Grotto architecture mainly comprises concrete embellished with objects including shells, marbles, colored glass, toys, figurines, fossils, and geodes. This accumulation, as well as the objects incorporated, creates a documentation of the maker’s life, faith, and home. Madeline Buol is one of the few known women grotto builders. The materials she utilized include figurines and stones gathered during her travels. She had a special affinity for shells of all shapes and sizes. The exhibition is the first public showing of Buol’s monumental thirteen-piece grotto since it was saved from the artist’s yard in 2011 by the Kohler Foundation, Inc. It was then gifted to the John Michael Kohler Arts Center. In addition to Buol’s grotto,&nbsp;A Beautiful Experience&nbsp;includes objects related to the Midwest grottoes that directly inspired her, such as the Dickeyville Grotto, Jacob Baker’s “dream houses,” the Rudolph Grotto, and the Wegner Grotto. The exhibition illustrates the material histories of these grottoes and strategies for their conservation. Visitors are offered opportunities to learn about the legacy and care of Midwest grotto sites. A Beautiful Experience&nbsp;also includes new work by Stephanie Shih and E. Saffronia Downing, each responding to the grotto tradition. Shih presents a work inspired by Jacob Baker and Chinese immigration in the U.S. Downing shares her explorations of clay and material foraging throughout the Midwest, providing insight into material studies for the concrete and construction materials often invented and improvised upon by grotto builders. Image: Madeline Buol, Buol Grotto and Sculptures (site view, n.d.), Dubuque, IA, 1946–c. 1960. Photo courtesy of Pam Mendenhall.

A Beautiful Experience: The Midwest Grotto Tradition

The annual&nbsp;High School Area Show&nbsp;is a juried exhibition featuring the artwork of high school artists from Kalamazoo and its surrounding counties. This show provides students opportunities to not only show their work in a museum, but also the chance to win prizes and scholarships. The KIA is proud to host this annual exhibition committed to nurturing emerging talent and expanding access to meaningful arts experiences for young people.The 2026 juror is Ginger Owen-Murakami. Owen-Murakami’s artwork reflects narratives of family history, race, gender, and culture. Her practice includes installation, sculpture, and various photographic methods. She is currently a Professor of Photography at Western Michigan University’s Gwen Frostic School of Art.The show is open to high school students residing in Allegan, Barry, Berrien, Branch, Calhoun, Cass, Kalamazoo, St. Joseph, and Van Buren counties. Students can submit up to two works online. (Submissions have closed for 2026.)

2026 High School Area Show

Opening: Friday, April 10th, 6-10pm. <a href="https://www.eventbrite.com/e/issy-wilson-boundary-layer-opening-at-pagoda-red-tickets-1985607690052?aff=oddtdtcreator&amp;utm_source=Pagoda+Red+Master+List&amp;utm_campaign=d349add43a-20260108_NewArrivals_COPY_01&amp;utm_medium=email&amp;utm_term=0_d5a5331306-d349add43a-106923209&amp;goal=0_d5a5331306-d349add43a-106923209&amp;mc_cid=d349add43a&amp;mc_eid=3e481c464e" rel="noopener noreferrer" style="background-color: rgb(255, 255, 255);" target="_blank">RSVP is required.</a>Herbaceous tequila tasting by Inspiro TequilaImmersive Listening Experience with Catieooooooo A series of multi-media paintings by London-based artist Issy Wilson, Boundary Layer explores the liminal space between earth and air, an overlooked micro-ecosystem where moss cultivates its own conditions for survival. A pioneer species that can shape its surroundings, moss challenges the idea of borders as impenetrable and attests to the impact of quiet perseverance. Dwelling in the boundary layer, mosses are living tapestries with porous and continually renegotiated borders.&nbsp; In a moment when political and social systems increasingly seek to solidify borders and regulate movement, moss suggests an alternative—one rooted in permeability, mutual support, and resilience.&nbsp; Each Boundary Layer work is inspired by London in winter, where mosses emerge as vivid interruptions to misty tones of gray and brown. Dotting the urban landscape like small, forested worlds, the moss bejewels its stark surroundings with moments of color and softness. Even in conditions of constraint, moss continues to thrive, reshape its surroundings, and create new possibilities for growth.&nbsp; Wilson’s paintings symbolize resilience without spectacle, adaptability without erasure, and resistance without domination. Her quiet landscapes remind us that transformation is possible, even when it occurs slowly and in overlooked spaces.

Issy Wilson: Boundary Layer

Museum of Contemporary Photography at Columbia College Chicago (MoCP) announces its next exhibition,&nbsp;<a style="color: rgb(0, 0, 0);" rel="noopener noreferrer" href="https://mocp.us5.list-manage.com/track/click?u=9e4250b7536dc23e9352b28ee&amp;id=1157c0cf86&amp;e=58cea278c7" target="_blank">MoCP at Fifty: Collecting Through the Decades</a>, on view January 22-May 16, 2026. As we enter the new year, MoCP celebrates its 50th anniversary. Since opening in 1976 and initiating collecting in 1979, MoCP has acquired over 18,000 objects by more than 2,000 artists, representing a broad scope of aesthetics, technologies, and processes. The variety of artworks collected has allowed the museum to engage in conversations across political, social, and cultural landscapes. To celebrate this milestone,&nbsp;MoCP at Fifty&nbsp;examines the evolving practice of building a dynamic collection, presenting a range of objects, from the rarely exhibited to newly acquired works. Together, these selections question and reflect on the role cultural institutions play in shaping the photographic canon. Each of the museum’s five galleries represents a decade of collecting, beginning with the most recent acquisitions (2016-2026) in the first gallery, then moving backwards through time. “Over five decades, the MoCP has built a collection that traces shifting cultural, political, and visual histories. This moment allows us to look back with reflection and celebrate our holdings, knowing that every photograph we steward becomes part of a larger conversation about how images shape our understanding of the world.” Karen Irvine, Chief Curator and Deputy Director Looking at MoCP’s collection decade by decade is as much an archive of history as it is of art. Collections are fluid, often evolving in ways that mirror the values and trends of society at large. The first decades are noticeably missing many women and artists of color, not because such artists were not making work at the time, but because cultural institutions had yet to fully consider the value of varied perspectives and forms of practice. The later decades were collected with intention, not only of addressing gaps in representation, but to embrace conceptual works and works that push the boundary of what defines “photography,” in the process expanding, innovating, and redefining what a photography museum can offer the public. This exhibition displays over 100 objects from the MoCP collection. Featured artists include: Joel Sternfeld (American, b. 1944), Barbara Crane (American, 1928–2019), Matthew Finley (American, b. 1972), Carrie Mae Weems (American, b. 1953), Yasuhiro Ishimoto (Japanese American, 1921-2012), Dayanita Singh (Indian, b.1961), Bob Thall (American, b. 1948), Carlotta Corpron (American, 1901-1988), and various others. Uta Barth, Field #3, 1995; printed 2021. 2021:244

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