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

PATRON is pleased to announce Nyeema Morgan’s&nbsp;take my wife…PLEASE!, the artist’s second exhibition with the gallery following 2022’s&nbsp;The Set-up. Across a body of work including sculptures, drawings, and print media, Morgan apprehends narrative structures as scaffolding for systems of power.&nbsp;take my wife…PLEASE!&nbsp;unfolds through inquisitive framing devices, mechanisms, and studies. With reflections and deflections, subtle set-ups, and alterations of the gallery space, Morgan’s works catalyze the inherent vulnerability and tension in our relationship with images, words, objects and architecture.<a href="https://patrongallery.us10.list-manage.com/track/click?u=fe9966abed200e47655a01bab&amp;id=756a607d87&amp;e=9b06d8f0f3" rel="noopener noreferrer" target="_blank">NYEEMA MORGAN</a>&nbsp;(b. Philadelphia, PA) lives and works in Chicago, IL. Morgan earned an&nbsp;MFA from the California College of the Arts in San Francisco, CA, and a BFA from the Cooper Union School of&nbsp;Art in New York, NY and attended the Skowhegan School of Painting &amp; Sculpture, Madison, ME.Select solo and two-person presentations include:&nbsp;Mike Cloud &amp; Nyeema Morgan: Story Structure, Pt. 2,&nbsp;Neubar Collegium for Culture &amp; Society at University of Chicago, Chicago, IL (forthcoming);&nbsp;take my wife…PLEASE!,&nbsp;PATRON, Chicago, IL (forthcoming);&nbsp;The Set-Up&nbsp;(2022),&nbsp;PATRON, Chicago, IL;&nbsp;Soft Power. Hard Margins.&nbsp;(2022),&nbsp;Grant Wahlquist Gallery, Portland, ME;&nbsp;between friends&nbsp;(with Mary Simpson) (2022),&nbsp;David Peterson Gallery,&nbsp;Minneapolis, MN;&nbsp;Nyeema Morgan&nbsp;:&nbsp;Like it Is&nbsp;(2021),&nbsp;The Philadelphia Art Alliance at the University of the Arts, Philadelphia, PA;&nbsp;THE STEM. THE FLOWER. THE ROOT. THE SEED.&nbsp;(2020),&nbsp;Boulder Museum of Contemporary Art, Boulder, CO;&nbsp;Asian Smaisians and Other Abstract Racial Slurs&nbsp;(with Mike&nbsp;Cloud) (2019),&nbsp;Marlborough Gallery Viewing Room, New York, NY and&nbsp;horror horror&nbsp;(2018),&nbsp;Grant Wahlquist Gallery, Portland, ME.&nbsp;Select group exhibitions include:&nbsp;Errata&nbsp;(2024),&nbsp;PATRON, Chicago, IL;&nbsp;Objects and Power&nbsp;(2024),&nbsp;Institute of Contemporary Art,&nbsp;Maine College of Art and Design, Portland, ME;&nbsp;Us We Them | Race Ethnicity Identity&nbsp;(2022),&nbsp;Worcester Museum of&nbsp;Art, Worcester, MA;&nbsp;Second Sight: The Paradox of Vision in Contemporary Art&nbsp;(2019),&nbsp;Bowdoin College Museum of Art, Brunswick, ME;&nbsp;Signal from Noise&nbsp;(2015),&nbsp;Hessel Museum of Art, Annandale-on-Hudson, NY;&nbsp;&nbsp;The Intuitionists&nbsp;(2014),&nbsp;The Drawing Center, New York, NY; and&nbsp;Project Gutenberg&nbsp;(2012),&nbsp;Galerie Jean Roch Dard, Paris, France.Morgan is the recipient of the&nbsp;Foundation for Contemporary Arts Grant to Visual Artists&nbsp;(2026), Harpo Foundation Visual Artist Grant&nbsp;(2023),the&nbsp;Chicago Artadia Award&nbsp;(2023), a&nbsp;Joan Mitchell Painters &amp; Sculptors Grant&nbsp;(2022, 2016) and an&nbsp;Art Matters Grant&nbsp;(2013). Her work is included in the public collections of&nbsp;The Walker Art Center,&nbsp;Minneapolis, MN,&nbsp;Bowdoin College Museum of Art, Brunswick, ME;&nbsp;The Menil Collection, Houston, TX (in collaboration with William Cordova and Otabenga Jones &amp; Associates); and&nbsp;Worcester Museum of Art,&nbsp;Worcester, MA.

Nyeema Morgan: take my wife…PLEASE!

Parallel Acts: A Practice of Staying brings together two practices that understand gesture as a durational condition rather than a singular event. In both bodies of work, movement is sustained over time, and repetition becomes a means of transformation rather than reproduction.In Shin’s ongoing series, Pas de Deux, Soo Shin constructs a buoyant vessel that floats in the Pacific Ocean while tethered to her body. Paper and pigmented wooden balls move freely within the structure, allowing ocean currents to register motion across the surface. Gesture emerges through sustained presence and shared agency between body, material, and environment, recorded as residue over time rather than intention.Tim Stone’s works are formed through repeated return to a single drawing. By tracing and retracing his own marks over extended periods, he allows accumulation to alter the surface. Through accumulation, the surface slowly transforms: compression builds, sheen develops, and the drawing shifts toward another material state. Staying with the same gesture becomes a means of altering both surface and substance.Placed together, these practices unfold as parallel acts of staying—where movement persists, time accumulates, and matter becomes the record of duration.<a style="color: rgb(17, 85, 204);" rel="noopener noreferrer" href="https://www.sooshin.org/" target="_blank">Soo Shin </a>(b. Seoul, Korea) is an interdisciplinary artist based in Chicago. She received the Northern Trust Acquisition Award (Pennsylvania Academy of the Fine Arts) at Expo Chicago and has been awarded fellowships from the Loghaven Artist Residency (Knoxville, TN), the Djerassi Resident Artists Program (Woodside, CA), the Vilcek Foundation Fellowship at MacDowell, and the Illinois Arts Council Artists Grant. Her work has been exhibited at Block Museum (Evanston, IL), Ohio University (Athens, OH), PATRON Gallery (Chicago, IL), The Rivalry Projects (Buffalo, NY), The Luminary (St. Louis, MO), Goldfinch Gallery (Chicago, IL), Chicago Manual Style (Chicago, IL), LVL3 (Chicago, IL), and the Chicago Artists Coalition (Chicago, IL), among others. She has also completed residencies at the John Michael Kohler Arts Center (Sheboygan, WI) and Ox-Bow (Saugatuck, MI). Shin holds an MFA from the School of the Art Institute of Chicago, as well as both an MFA and a BFA from Ewha Womans University in Seoul, Korea.<a style="color: rgb(17, 85, 204);" rel="noopener noreferrer" href="https://www.circlecontemporary.org/artists/88-tim-stone/works/" target="_blank">Tim Stone</a> was born in Park Ridge in 1973, where he grew up living with his family. Over the years, Stone has created an expansive and cohesive body of work across media, including graphite, watercolor, and acrylic. For the past few years he has focused primarily on grayscale drawings of loose grids in graphite, with titles that hint at personal inspirations. Focused and methodical in his practice, he maintains a diligent studio routine and steadfast artistic vision informed by concepts of abstraction. Stone’s process is driven by labor-intensive, repetitive mark-making that burnishes the graphite and slowly wears away the surface of the paper over time. He’s also an active member of the curatorial committee, assisting guest curators with exhibitions at Circle Contemporary featuring studio artists alongside artists from the broader contemporary art community.

Parallel Acts: A Practice of Staying | Soo Shin and Tim Stone

Whether shooting from the vast wilds of Alaska, or the familiar Chicago alleys of her hometown, Alexa Viscius manages to create film portraits that feel like peering into a keyhole. Candid shots reveal coveted glimpses of beloved musicians: like New York Phenom Cameron Winter making adjustments to his musical arrangements backstage before his monumental solo performance at Hyde Park’s Rockefeller Church, or the sensational young Chicago band Horsegirl, running down a hill with a certain excitement and teenage-abandon of a group on the cusp of their breakout record, or a contemplative moment shared between longtime friends and prolific Chicago indie rockers Max Kakacek and Julien Elrich of Whitney, sitting in Kackek’s grandparent’s bedroom in Portman, Wisconsin. Many of her portraits, taken at her longtime studio in the historic Flatiron building in Wicker Park Chicago, retain that same sense of tenderness: A portrait of renowned New York musician, and frequent collaborator, Adrienne Linker of Big Thief, displays a sense of intimacy and trust. It’s a trust that has been earned through 20+ years of mastering her craft, allowing her subjects to open up, revealing themselves like flowers. From legendary Chicago DIY venues of yore, to international stages and all those quiet moments in between, she’s been there thru it all, with her finger on the shutter, capturing the music and the people that make it. Alexa Viscius is a Chicago based photographer with a focus on music portraiture, working primarily on film. She received her BFA from the University of Illinois at Chicago in 2011. Her work has been featured in The New York Times, Paper magazine, W magazine, and other publications. She is a recipient of the Abbey Road Music Photography Award for the Editorial category in 2024.In addition to her photography practice, Viscius is an award winning graphic designer and plays bass in the Chicago indie rock band Bnny. She lives in Chicago with her husband Adam and their son Arthur.

Alexa Viscius: Portraits of People Who Make Music

Keiichi Tanaami's&nbsp;Red Shade&nbsp;presents a whirlwind of animated childhood memories of World War II interspersed with images of Western pop. Produced when the artist was 85 years old, the film begins with Tanaami's paintings, which the artist&nbsp;animated into a dream world featuring 80 different scenes, each independently complete and freely arrangeable.Image: Still from&nbsp;Keiichi Tanaami,&nbsp;Red Shade,&nbsp;2012,&nbsp;digital video, 7 min.&nbsp;

Keiichi Tanaami: Red Shade

Opening Reception: Saturday, March 7th, 2026 from 2 to 5 PM&nbsp; The Women Painting Women Exhibition expands upon our collective identities as figurative artists. In this exhibition of figure paintings, we challenge the male gaze by exploring alternative topics such as our individual selfhood, archetypical figures and Surreal depictions of the human form. Our focus on our own authentic, complex bodies provides a vehicle for change and elevates our position as artists.&nbsp; Saturday, April 4th at 2 PM: Gallery Talk with Joanna Pinsky, Artistic Director and Cofounder of Art Encounter. Artists: Melissa Arostegui, Pochis Bank, Gaby Bozeman, Kate Citrin, Jennifer Cronin, Karen Fike, Nicole Gordon, Ellen Holtzblatt, Sarah Kaiser, Victoria Loeb, Joanna Pinsky, Lea Pinsky, Mary Porterfield, Patti Ray, Nancy Rosen, and Eleanor Spiess-Ferris.

Women Painting Women

Conditions of Encounter includes three artists exploring the notions of environment and atmosphere. Hillary Irene Johnson, Daniel Miller, and Tuan Jones question how we affect, document, and inhabit spaces. Bringing together interdisciplinary practices, the exhibition reveals what typically goes unseen, inviting an awareness of presence within the space. Through camera-less photography, interactive sculptures, and paintings, the works explore perception and its relation to the subtle exchanges of encounter.Hillary Irene Johnson presents two interconnected bodies of work: camera-less salt prints from her ongoing 108 Days: Attentive Field and photographic works on silk from A Year in Light. Johnson’s practice uses natural light, duration, and handmade materials to create images that emerge slowly through repeated exposure and careful attention. Her work invites viewers into a quieter mode of perception, where light is experienced not as instant spectacle but as atmosphere, memory, and accumulation.Daniel Miller presents Mutual Light, a series of interactive sculptural flowers that react to visitors through infrared temperature sensing, distance detection, and air-quality monitoring. As viewers move closer, breathe, and emit heat, the flowers shift in color and luminosity, making visible the often-invisible energies exchanged between body and environment. Constructed from repurposed plastic milk jugs and custom electronic systems, the works combine ecological reuse with poetic technological responsiveness.Tuan Jones presents When Shadows Plié: The Choreography in Stillness, a series of paintings depicting humanoid figures performing ballet in Formula 1 helmets. The helmets allow the dancers to conceal themselves but also amplify their presence to better navigate the world of ballet, an institution that has historically excluded black and brown bodies. While Racecar driving and Ballet seemingly juxtapose– recklessness vs. grace, they relate in their culture of rigorous expectations of work and their precise and calculated movements. Dancers prance through a forest floor, bestrewn in contradiction, Jones creates a contemplative world where the viewer questions how they occupy and are perceived in space. Mutual Light, Daniel Miller

Conditions of Encounter

The Evanston Art Center (EAC) is excited to welcome the public to our upcoming exhibition,&nbsp;Sandra Hansen | Our Exquisite Pollution Series: Under the Sea. The exhibition will be on display from&nbsp;March 28 - April 26, 2026, with an opening reception on Sunday, March 29, from 1-4pm that will be free and open to the public.In&nbsp;Our Exquisite Pollution Series: Under the Sea, environmental artist Sandra Hansen&nbsp;creates water scenes with pure, sustainable handmade paper and repurposed plastics found decaying on the beaches. As the environmental crisis grows larger, so does Hansen’s art. Hansen’s work has evolved into installation with lighting, sound, and movement, where viewers are engulfed in an underwater-like space with sea creatures.Our Exquisite Pollution Series: Under the Sea&nbsp;will be exhibited in the Atrium Gallery on the Second Floor of the Art Center. The opening reception is free and open to the public. This exhibition is partially funded by the Illinois Arts Council, a state agency, and the EAC’s general membership.

Sandra Hansen | Our Exquisite Pollution Series: Under the Sea

During her 2025 Artist Residency at the International Museum of Surgical Science, Chicago-based artist, design director and educator Kimberly Viviano interrogates how everyday food choices affect our bodies in uncomfortable ways. Drawing on personal experience and research, her installation investigates the tension between foods labeled “healthy” and how differently individual bodies can respond to them.<a href="https://zpzl839y.r.us-west-2.awstrack.me/L0/https:%2F%2Fsqclick.com%2Foutreach%2Ft%2F6iFkeySaxzhQ%2Fhttps%25253A%25252F%25252Fimss.org%25252Fkimberly-viviano-food-for-thought%25252F%25253Futm_source%25253Dsqmktg_email%3Fs=qfBtUgTbeJ0G29A6LQinnFs8rYXjPA-Bkj1017zPtzI/1/0101019cc44e31ce-376117fd-ade0-416d-9862-f278044627da-000000/HIb81s-xlz354jnYXtq2QUApStg=469" rel="noopener noreferrer" target="_blank">MORE INFORMATION</a>

Food for Thought: Kimberly Viviano

Since 1964, The Madison Museum of Contemporary Art has collected and preserved modern and contemporary art in order to exhibit it and provide transformative experiences. These objects, MMoCA holds in trust for everyone to learn from and be inspired by all for free.&nbsp;In 2025, MMoCA added over 80 artworks to the permanent collection, including works on paper, large-scale paintings, and sculptures from both local and international artists.&nbsp;Recent Acquisitions&nbsp;displays some of these art objects, showcasing the breadth of contemporary art practice and connecting Madison to the global dialogue through visual art.&nbsp;

Recent Acquisitions

*Registration is required. Visit&nbsp;www.EvanstonArtCenter.org&nbsp;for more information.The Evanston Art Center (EAC) is excited to welcome the public to our upcoming exhibition,&nbsp;Joan Ruppert | Making the Cut. The exhibition will be on display from&nbsp;March 28 - April 26, 2026, with an opening reception on Sunday, March 29 from 1–4pm that will be free and open to the public. Joan Tortorici Ruppert is a television producer and media content creator based in Glenview, IL. Her exhibition&nbsp;Making the Cut&nbsp;showcases live-action collages that combine characters from her late father’s vintage negatives together with contemporary environments. Each new collage is organic, unpredictable, and unrepeatable, disrupting time and space to write new chapters in her family’s story.Joan Ruppert | Making the Cut&nbsp;will be exhibited in the Second Floor Gallery of the Art Center. The opening reception is free and open to the public. This exhibition is partially funded by the Illinois Arts Council, a state agency, and the EAC’s general membership.Evanston Art Center, a nonprofit 501 (c)(3) organization, is dedicated to fostering the appreciation and expression of the arts among diverse audiences. The Art Center offers extensive and innovative instruction in broad areas of artistic endeavor through classes, exhibitions, interactive arts activities, and community outreach initiatives.

Joan Ruppert | Making the Cut

This Winter, the&nbsp;Elmhurst Art Museum&nbsp;presents&nbsp;Living with Modernism: Kelli Connell.&nbsp;Presenting two series by the Chicago-based artist, Connell’s nationally traveling exhibition&nbsp;Pictures for Charis&nbsp;responds to the iconic photographs of Highland Park-born artist&nbsp;Edward Weston&nbsp;through a queer, feminist lens. Her second major body of work—Double Life—explores the evolution of intimate relationships shaped by the changing nature of identity over time, and features new commissions responding to the architecture of the&nbsp;Mies van der Rohe-designed McCormick House. The exhibition marks the largest presentation of Connell’s work in Chicago, placing queerness, power structures, and shifting ecologies in the twenty-first century in conversation with two giants of modernism. The exhibition is curated by&nbsp;Allison Peters Quinn, Executive Director and Chief Curator, and will be on view at the Elmhurst Art Museum, 150 South Cottage Hill Avenue in Elmhurst, from&nbsp;January 24 to April 27, 2026. Peters Quinn says, “The Elmhurst Art Museum is honored to present the arresting photographs of nationally acclaimed photographer Kelli Connell in the Chicagoland area, where she has rooted her art practice and mentored dozens of artists for over a decade. Following its extensive US tour, we have expanded the&nbsp;Pictures for Charis&nbsp;exhibition to include an additional series,&nbsp;Double Life&nbsp;by Connell. Connell’s commitment to exploring the everyday moments in relationships with ourselves and loved ones encourages us to cherish both the beautiful and the difficult times in our lives. Chicago is a crucial center for contemporary photography, and we are proud to highlight this through&nbsp;Living with Modernism.” An exhibition in two parts, Connell explores the psyche of human relationships and our connection to nature and architecture. The main galleries will feature 45 photographs from her series&nbsp;Pictures for Charis, a tender and emotional sequence of work placing Connell in dialogue with one of the most innovative American photographers of the 20th Century, Edward Weston (1886-1958). For this body of work, Connell revisited the sites of Weston’s black-and-white landscapes and portraits of his partner of 11 years, writer Charis Wilson, in&nbsp;California and the West&nbsp;(1934-45), to photograph her own former longtime partner, artist Betsy Odom. Connell’s work is presented alongside 48 original prints by Weston on loan from the Center for Creative Photography (Tuscon) and text excerpts from Charis. Shining new light on Weston’s subject, Charis, the installation bridges eighty years of ecological and social shifts with a feminist perspective.The McCormick House gallery features the latest chapter in Connell’s ongoing series&nbsp;Double Life, which the artist began in 2002. For this series, Connell explores long-term relationships with others and the self. The digital images document the fictional relationship of two women, both played by collaborator Kiba Jacobson. Connell describes&nbsp;Double Life&nbsp;as “an honest representation of the fluidity of the self in regard to decisions about intimate relationships, sexuality, gender, family, belief systems, and lifestyle options.” For&nbsp;Living with Modernism, the Elmhurst Art Museum commissioned Connell to respond to the architecture of McCormick House designed by Mies van der Rohe. Connell chose to photograph the site - and incorporate poetry from its former owner Isabella Gardner (niece of the Boston arts patron by the same name) - to generate new works adding to the perpetual&nbsp;Double Life&nbsp;narrative. Connell says,&nbsp;“I am beyond thrilled to show&nbsp;Pictures for Charis&nbsp;and&nbsp;Double Life&nbsp;together at the Elmhurst Art Museum. Both projects portray my commitment to uncovering forgotten histories. Making new work in the McCormick House, a space where the work will also be shown, was a unique opportunity for me to think about architecture and its impact on people and the relationships we have with each other in these spaces.” Pictures for Charis&nbsp;is co-organized by the Center for Creative Photography, Tucson, at the University of Arizona on behalf of the Arizona Board of Regents; the Cleveland Museum of Art; and the High Museum of Art, Atlanta. Pictures for Charis&nbsp;is curated for each museum by Rebecca Senf, Ph.D., Chief Curator at the Center for Creative Photography, Tucson, at the University of Arizona on behalf of the Arizona Board of Regents; Barbara Tannenbaum, Ph.D, Curator of Photography and Chair of Prints, Drawings, and Photographs at the Cleveland Museum of Art; and Gregory J. Harris, the Donald and Marilyn Keough Family Curator of Photography at the High Museum of Art, Atlanta and Allison Peters Quinn, Executive Director &amp; Chief Curator of the Elmhurst Art Museum.This project is made possible by Teiger Foundation. Photographs by Edward Weston are courtesy of the Edward Weston Archive at the Center for Creative Photography. Additional support for&nbsp;Living with Modernism&nbsp;and related programs are provided by the Illinois Arts Council and individual donors. ABOUT THE ARTISTKelli Connell&nbsp;(b. 1974) is a photographer based in Chicago. Through her images, she addresses issues of sexuality, identity, and self-perception. Her work is in the collections of the Metropolitan Museum of Art, Los Angeles County Museum of Art, J Paul Getty Museum, Philadelphia Museum of Art, Museum of Fine Arts Houston, Dallas Museum of Art, and the Museum of Contemporary Photography, among others. Publications include&nbsp;Kelli Connell: Pictures for Charis&nbsp;(Aperture and Center for Creative Photography, March 2024),&nbsp;PhotoWork: Forty Photographers on Process and Practice(Aperture),&nbsp;Photo Art: The New World of Photography&nbsp;(Aperture), and the monograph&nbsp;Kelli Connell: Double Life&nbsp;(DECODE Books). Connell has received fellowships and residencies from The Guggenheim Foundation, MacDowell, PLAYA, Peaked Hill Trust, LATITUDE, Light Work, and The Center for Creative Photography. ABOUT THE ELMHURST ART MUSEUMThe Elmhurst Art Museum is located at 150 South Cottage Hill Avenue in Elmhurst (IL), 25 minutes from downtown Chicago by car or public transportation (Metra). On the museum’s campus is the McCormick House, a single-family home designed in 1952 by Mies van der Rohe, one of the great architects of the 20th Century. The McCormick House is one of only three residences designed and built by Mies in the United States – and one of only two open to the public. The Museum is open Wednesday and Thursday from 12:00 p.m. – 5:00 p.m., Friday through Sunday, 11:00 a.m. – 5:00 p.m. Regular admission prices are $18 for adults (ages 18+), $15 for seniors, $10 for students, and $5 for children. For more information, please call 630.834.0202 or visit <a rel="noopener noreferrer" href="https://www.elmhurstartmuseum.org/" target="_blank">elmhurstartmuseum.org</a>.Images Kelli Connell,&nbsp;Surf, Point Lobos, 2015, courtesy the artist.

Living with Modernism: Kelli Connell

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

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) 690-9634Opening reception: Friday, April 10 from 5-9 PM, Closing reception: Friday, May 1st from 5-9PMExhibition can also be viewed from the street 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

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

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

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

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

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

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

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.

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