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

Audrey Yang: Sanctuary As Method Sanctuary As Method offers artmaking as refuge for “throwaway” materials—snack wrappers, used kitchen gloves, old bedsheets, dryer lint—and turbulent emotions—anger, disappointment, grief, fear. These are precious evidence and accumulation of every day that we are alive. Processing these over weeks, months, and years—through repeated acts of sewing, folding, painting, soaking, dyeing, shredding, reassembling—yields continuous transformation that cannot be defined or controlled long-term. Drawing inspiration from utopia as method in literature, this body of work traces the shift from suppressing to anticipating potential beyond language and knowing—then seeing that very potential within ourselves. Artmaking as a sanctuary for distress and debris anticipates how we come to peace with our own totality. Audrey Yang is a Chinese-American interdisciplinary artist and educator, born and raised in Buffalo Grove, Illinois. She is currently pursuing a Bachelors of Fine Arts in Art Education at the School of the Art Institute of Chicago. Her work is grounded in relationships devoted to learning. She adheres to the belief that self-acceptance—the unlearning of shame—generates reciprocal webs of curiosity between oneself and others. Curiosity enables learners to think, work, interact, and imagine beyond disciplinary boundaries, beyond secondhand language, towards something infinite. Artist talk: Friday, July 31, 4-5pm <a href="https://www.eventbrite.com/e/artist-talk-with-audrey-yang-at-arc-gallery-tickets-1993016793881?aff=oddtdtcreator" rel="noopener noreferrer" target="_blank">Details</a> Exhibition dates: July 10 – 31, 2026 Gallery hours: Thurs – Fri 2-6pm, Sat – Sun 12-4 pm

Audrey Yang: Sanctuary As Method

Chicago Sculpture InternationalCSI Project Space Gallery EXHIBITION DATES: June 5 - July 31, 2026OPENING RECEPTION: Friday, June 5, 2026, 6–9 pm “Abstract Expressions” explores the raw, unfiltered language of gesture, color, and movement—where emotion takes form beyond representation and meaning emerges through instinct rather than depiction. Influenced by the bold innovations of artists such as Willem de Kooning, whose restless surfaces redefined the boundaries of abstraction, the pieces in this exhibition embrace tension, rhythm, and spontaneity. In these artworks, control and chaos coexist, echoing the human condition in all its vulnerability and force.&nbsp;Abstract Expressions is not about what is seen, but what is felt—an immersive encounter with the energy of creation itself, emotion made visible. Exhibiting Artists: Nikki Anderson, Pinar Aral, Tomas Co, Darlys Ewoldt, Ted Sitting Crow Garner, Shelley Gilchrist, Peter Gray, Carol Hammerman, Kasia Kay, Victoria Kowalczyk, Laurie LeBreton, Patrick Miceli, Scott Mossman, Rebecca Russow, Marvin Shafer, Yvette Kaiser Smith, Pat Stephens, Rich Stewart, Michele Thrane Curator: Micki LeMieux The CSI Project Space Gallery is located at 1912 N. Damen Ave.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Gallery Hours: Fri, 2-6 pm; Sat, 12-4 pm; Sun, 1-5 pm

Abstract Expressions

Join The Art Center in celebrating a new show from the artists of the&nbsp;Illinois Watercolor Society.&nbsp;Browse, shop, and enjoy a variety of watercolor works on display. Entry is free, with light refreshments and drinks provided.<a href="https://rkcgwygbb.cc.rs6.net/tn.jsp?f=001tn00zdsF62uWZQ53wMHAwOTis5qqYO6Kh1sko1kjBnuSukhTWqBylGc4Kcidw-hdq58ADvutU_AVQFplYxhuqJaQkxfCGRa4lvbzpXNp1HWOqoj-IyErjdumeK35NEpCzFda5MleUa-2bJoGQHbSDT5whTnTFwfZs0m9gGvcXN10VL-5zLHlR0Gry_RRwj7tT5_17_YpcNZDTEakJI6p85QmHNopDyndtHzuXx5S2HK7GqHwkmz_zcqCNW1UQUKHqZNTrjMYX8k=&amp;c=4d8TxCl1AwZFEz9uui10eyUorK12f-gS6OPNB-6SdddswFJi2TvVZw==&amp;ch=SlvVujyIgfwl_Czvcy7d5tiy-M5tJXyv-fN_EONtwT3qWWVrZI-S7Q==" rel="noopener noreferrer" target="_blank">Learn more</a>

Illinois Watercolor Society Members Exhibition 2026

Please join us for a special exhibition by ENGAGE Projects at SoNa Chicago Contemporary Art. The exhibition series invites artists to transform the gallery into an extension of the studio. Featuring finished works alongside works in progress, the exhibition offers visitors a deeper understanding of artistic process, material experimentation, and the evolving nature of a practice. Rather than a performative studio reconstruction, Studio Sessions creates space for intimacy, conversation, and close looking—encouraging collectors, curators, and the broader community to engage with artists beyond the finished object. Each participating artist will present one to three completed works alongside a developing piece from the studio, offering insight into the decisions, revisions, and thinking that shape the work over time. Participating artists include Nick Albertson, bARBER, Matthew Girson, Noel Mercado, and Margaret Welsh. Throughout the exhibition, ENGAGE Projects and SoNa Chicago will host a series of public programs, including artist conversations, panel discussions, and special events designed to further expand dialogue around artistic practice and studio culture. Participating artists will also be invited to take part in week-long Instagram takeovers on the ENGAGE Projects account, offering additional opportunities to share process, inspiration, and perspectives from the studio. About ENGAGE Projects: In pursuit of the continued study of the arts and support of community-led progress, ENGAGE Projects’ vision is centered around engagement with artists, communities, and patrons. See more about ENGAGE Projects <a href="https://www.engage-projects.com/" rel="noopener noreferrer" target="_blank">here</a> About SoNa Chicago Contemporary Art: SoNa Chicago highlights primarily contemporary artists from Chicago. Although we will put a spotlight on Chicago artists, we want the dialogue between artists in the gallery to be global. We view our space as a venue for conversation, community, and a celebration of the arts. View more about SoNa Chicago <a href="https://sonachicagoart.com/" rel="noopener noreferrer" target="_blank">here</a>

Studio Sessions: A Collaboration with Engage Projects

moniquemeloche is pleased to present Lavar Munroe:&nbsp;DANCE WITH MY FATHER AGAIN, the artist’s second solo exhibition with the gallery. Munroe is an interdisciplinary artist from Nassau, Bahamas whose work spans painting, drawing, sculpture, installation, collage, and assemblage. Working with an expansive range of materials including paint, cardboard, feathers, glass, found objects, textiles, newspaper, and discarded cultural artifacts, Munroe constructs richly layered worlds that merge folklore, spirituality, personal memory, and collective history.Munroe’s exhibition emerges from research developed for The Bahamas Pavilion at La Biennale di Venezia 2026, which recently opened to rave reviews, and centers on an intergenerational dialogue between Munroe and the late Bahamian artist John Beadle – who are both deeply shaped by Bahamian culture and particularly the traditions of Junkanoo, the national festival known for its processions, elaborate handmade costumes, music, improvisation, and collective production. Following Beadle's death in 2024, Munroe developed works that engage Beadle's legacy, incorporating aspects of his artistic philosophy, collected materials, sketches, and influence.&nbsp;DANCE WITH MY FATHER AGAIN&nbsp;extends Munroe’s ongoing exploration of posthumous collaboration while marking a deeply personal return to continue an unrealized project conceived with his late father.Before his father's passing, Munroe envisioned a collaboration centered on the parachutes his father—&nbsp;a&nbsp;Junkanooer, fisherman, and boatsman—washed, repaired, and braided by hand. Recognizing their sculptural beauty, Munroe hoped to present the parachutes as artworks and respond to them through his own visual language, creating a dialogue between two makers connected by a shared understanding of material transformation. Although his father's death interrupted the project, the collaboration sustained as Munroe incorporated these objects into subsequent installations, sculptures, and drawings, allowing his father's presence to remain an active force within the work.This exhibition marks a return to the origins of that conversation through a series of unstretched paintings on canvas. While earlier projects relied on inherited objects as collaborators, these paintings position memory itself as the medium of exchange for which the artist navigates loss, celebration, and lasting connection. Central to these works is the Bahamian tradition of shared mourning, where movement, coordinated dress, and united visual markers transform grief into a communal act. The figures depicted here are "rushing", a term associated with participation in Junkanoo processions moving through spaces that are at once celebratory and elegiac. Layers of Bahamian newspapers from 2024 to 2026 function as both historical record and a fragmented archive, preserving traces of specific moments that emerge and disappear beneath successive layers of paint, fringe, beads, sequins, and decorative elements derived from Junkanoo costume-making traditions. The surface feels simultaneously celebratory and weathered, echoing the handmade exuberance of Junkanoo while preserving the residue of lived experience and ritual.Taken together, the works in&nbsp;DANCE WITH MY FATHER AGAIN&nbsp;revisit the relationship that first inspired Munroe's notion of posthumous collaboration. Here, Munroe deftly showcases painting as a space in which communication, remembrance, and artistic partnership can be shaped by the enduring presence of ancestors, community, and shared history.<a href="https://t8j4tqkab.cc.rs6.net/tn.jsp?f=001HEw2jKi8CMNvWFoG6Y6F_Y3BYAk2Ifckta9-otEzFXdeEZCvpFMjv4T-4WiWcVLUo2vWiD5WVwoqrIq1D_lGHu7UvTSxViO5kQOF40dMN7PkWYQeA_RInXx3PEZVTmOwk3pfqkNNRJVo2Z9oHP36F7HYpK_vL5BPefYGxRPaB4T02EqELWDflGnqlC7CcWHa09JArziskxpdij8PUFAIn6CHtGzBtT5Bmg51WWuNE27QYSfFy8u4LSnZRyIugv8NcF0uKsP5HEv2qleI8rYS-w==&amp;c=mayR7Zr2M0pE5TwMwhP-aeMkDM48iXct9v_W7lzwQ-VJM2ZoyBc2ow==&amp;ch=BQh7hExe1nF9iMcSRvD4Wtp5HkGqvRDY5t-eDaDwe8S1pAjqR559sw==" rel="noopener noreferrer" target="_blank">Learn more</a> Image: Lavar Munroe,&nbsp;DANCE WITH MY FATHER AGAIN (detail), 2026

Lavar Munroe: DANCE WITH MY FATHER AGAIN

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;Presence and Absence: The Space Between | Curated by Indira Freitas Johnson. The exhibition will be on display from July 6 – August 2, 2026 with an opening reception on Sunday, July 12, 1–4 pm that will be free and open to the public.Curated by Indira Freitas Johnson,&nbsp;Presence and Absence: The Space Between&nbsp;is the culminating exhibition for the EAC’s Curatorial Fellowship. Johnson’s fellowship explores the dual reality of death—the physical disappearance of those we love and the enduring emotional, spiritual, and cultural traces they leave behind. Through sculpture, painting, performance, and participatory installations, the exhibition brings together fragile and enduring materials to reflect on memory, loss, and the tension between impermanence and our human desire to hold on. Rather than viewing death as an ending, the exhibition considers it as a connective force between past, present, and future, inviting visitors to reflect on legacy, remembrance, and the ways we remain present even in our absence. Indira Freitas Johnson is a sculptor, cultural worker, peace activist, and educator whose work explores the intersection of art, community, and social change.Presence and Absence: The Space Between&nbsp;will be exhibited in the First 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.Evanston Art Center is located at&nbsp;1717 Central St., Evanston, IL.

Presence and Absence: The Space Between | Curated by Indira Freitas Johnson

<a href="https://tnxbinhbb.cc.rs6.net/tn.jsp?f=001Rno48du2XKNGZv0kmxo6I-i_5GsUVB3q-yH2lCwRqAT-EsZjDAYAQ2PR00YXbJQsxb7NINg6dNnaIVhyMALeGYZ6qJUoYR6VPW-erO2W2o_gRY1D9a512PU-5K_39mDr3YvxN_pcqA9qxcccvcZkALjLnfR_VhXC-mbsyyIc7lc2xMjnNFo1gN1P7kjghgnMMW6A8o_H8J_5ryZ7LeKK44fJ3KJ2joxBjPTDOZ5MCkshgizSsjr-USZJDYsfGdaU-WEI18LWbsc=&amp;c=Ybe2_q451B18_Da2mEuXxDXcLqOaLDhQfyAEGPIb5czCldGVyA5amQ==&amp;ch=ymKqTsYIbk9-VcvqyLiVdGXGE7ekMRU8Gz_PVKW5h59kPJjNy8HYtA==" rel="noopener noreferrer" target="_blank">Moving Identities: 16 Voices of Belonging</a>. Congratulations to 2021 Resident&nbsp;<a href="https://tnxbinhbb.cc.rs6.net/tn.jsp?f=001Rno48du2XKNGZv0kmxo6I-i_5GsUVB3q-yH2lCwRqAT-EsZjDAYAQ2PR00YXbJQsYf-tO4QyqaWd382s6FV2lbPtoudKhtTSRvOWfOq_u1WlhJcp-pik7whNcSWb-54jzDhutqh9487VDoEfeUIV-T-V3CXkU4ZwXDrIhusKxp8=&amp;c=Ybe2_q451B18_Da2mEuXxDXcLqOaLDhQfyAEGPIb5czCldGVyA5amQ==&amp;ch=ymKqTsYIbk9-VcvqyLiVdGXGE7ekMRU8Gz_PVKW5h59kPJjNy8HYtA==" rel="noopener noreferrer" target="_blank">Cristobal Alday</a>, 2023 Resident&nbsp;<a href="https://tnxbinhbb.cc.rs6.net/tn.jsp?f=001Rno48du2XKNGZv0kmxo6I-i_5GsUVB3q-yH2lCwRqAT-EsZjDAYAQ2PR00YXbJQsSJGHxO5W9qVkrBMijlG8jpffPveq7gCB1-EdHcZ8mt4y_AhYDXxfntd-jjLhC5OKmpv8zo6NNLHXx6MWN6fhgByV5vHbqEIqGpxeVduGhuyZ2eUT5PzB_a_j0d_sw-Z_BCM7C8YuDyg=&amp;c=Ybe2_q451B18_Da2mEuXxDXcLqOaLDhQfyAEGPIb5czCldGVyA5amQ==&amp;ch=ymKqTsYIbk9-VcvqyLiVdGXGE7ekMRU8Gz_PVKW5h59kPJjNy8HYtA==" rel="noopener noreferrer" target="_blank">Armando Román</a>, 2024 Resident&nbsp;<a href="https://tnxbinhbb.cc.rs6.net/tn.jsp?f=001Rno48du2XKNGZv0kmxo6I-i_5GsUVB3q-yH2lCwRqAT-EsZjDAYAQ2PR00YXbJQsCLsFQJWLx5McXZv_7v4HiPWKaUivimueFXkaCiiVtnlEhbiHuaht6ilvkLyYa8erkvjIoWG6ces7uYATEE0-reATLvSDsnqkBMy5FydJMzylV2eJNz_rAor8dqPWreFsGbwkYxi0y4vuyShsjx1EScUvE9rbfzD8&amp;c=Ybe2_q451B18_Da2mEuXxDXcLqOaLDhQfyAEGPIb5czCldGVyA5amQ==&amp;ch=ymKqTsYIbk9-VcvqyLiVdGXGE7ekMRU8Gz_PVKW5h59kPJjNy8HYtA==" rel="noopener noreferrer" target="_blank">Jairo Granados-Cardenas</a>, 2025 Resident&nbsp;<a href="https://tnxbinhbb.cc.rs6.net/tn.jsp?f=001Rno48du2XKNGZv0kmxo6I-i_5GsUVB3q-yH2lCwRqAT-EsZjDAYAQ2PR00YXbJQs4Z-uV5wZ-UeTtDPeTnyUQPQlzIXr4x9Mk2ncH6TQLp9LxGpLnWIEN2-FbH7mF3xch5RGNth4cGgDyq51zELKQhn0Ii7TLN2Jd5dGl4sOpe-opQRdtLRVxPGuYDW-UZ27fX_TvJqKTU953FyS7DFpSA==&amp;c=Ybe2_q451B18_Da2mEuXxDXcLqOaLDhQfyAEGPIb5czCldGVyA5amQ==&amp;ch=ymKqTsYIbk9-VcvqyLiVdGXGE7ekMRU8Gz_PVKW5h59kPJjNy8HYtA==" rel="noopener noreferrer" target="_blank">Miguel Limón</a>, and 2025 Resident&nbsp;<a href="https://tnxbinhbb.cc.rs6.net/tn.jsp?f=001Rno48du2XKNGZv0kmxo6I-i_5GsUVB3q-yH2lCwRqAT-EsZjDAYAQ2PR00YXbJQsNrGgU629D6rcMqTzXTXNusf2Unntl3n6x23xQp1H-cHE1SPDX8pVAUTaBc9fiZQ_KB25vBdcojnBWxr14P9-5q0Pgq2jzoQUwYn9BCIlZr0P5f3_hMA1H5GKngmCe2inDVPd3f5ai8-ym2mtvQZ9xA==&amp;c=Ybe2_q451B18_Da2mEuXxDXcLqOaLDhQfyAEGPIb5czCldGVyA5amQ==&amp;ch=ymKqTsYIbk9-VcvqyLiVdGXGE7ekMRU8Gz_PVKW5h59kPJjNy8HYtA==" rel="noopener noreferrer" target="_blank">Carina Vargas-Nuñez</a>&nbsp;on being included!Viewings every Thursday, Saturday, and SundayClaudia Cassidy Theater Lobby, Chicago Cultural Center in partnership with the Consulate General of Mexico in Chicago |&nbsp;78 E Washington St, Chicago, IL 60602

Moving Identities: 16 Voices of Belonging

John McIntire is a self-taught artist who turned&nbsp;to oil painting later in life as a way to create and express his interest in modern art. Surrounded by talented artists his entire life, John has been influenced by his mother (grade school art teacher), Tim Ferrarell (Lewis U roommate, art major) and his brother Paul (architect, sculptor). John‘s paintings are all abstract, inviting viewers to see whatever their imagination allows. He envisions them in urban spaces – open, expressive and minimalist.

John McIntire: Fields In Color

Public Opening | 5:30 –&nbsp;8:00 pmOpening Artist Talk&nbsp;| 6:00 – 7:00 pm Artist Oren Pinhassi sculpts anthropomorphic forms at great scale that appeal to the senses and intellect at once. He brings to The Arts Club of Chicago a series of figural/architectural works that occupy the gallery in an encompassing configuration, aiming to trigger the physical engagements of desire and fragility. On a basic level, Pinhassi’s forms address viewers as beings. They stand erect, though full of bulbous protrusions and seductive orifices. Yet, they refuse to be fully explicit, instead, seeking to communicate in the manner of poetry. Pinhassi’s towering or sprawling creatures draw upon such ordinary materials as sand, stone, or vinyl. In a process he has named “erotic construction,” Pinhassi uses sensual appeal, rough texture, suggestive pose, and intimate detail to press against the confines of a restrictive society.&nbsp;He has further explained, “The cavities in my work—windows, holes—simultaneously reference the most intimate cavities of the body and, as recognizable architectural elements, become landscapes for this public exchange.” How do streetscapes or open windows suggest encounters or interpenetrations? What are the boundaries between one and another? Why do we fear contact? And where might mutual understanding be found?New York-based artist&nbsp;Oren Pinhassi&nbsp;(b. 1985) creates sensuous sculptures and immersive installations that explore the reciprocal relationship between humans and the environments we create. His work investigates how architecture and objects shape our bodies, behaviors, and perceptions while simultaneously carrying traces of human presence, desire, and vulnerability. Pinhassi’s ongoing dialogue highlights how our designs, in turn, design us.Working primarily with sand and plaster, Pinhassi is drawn to organic materials for their transformative potential and porous nature. His process of layering burlap, plaster, and sand over welded steel skeletons involves repeated tactile engagement, mirroring how environments carry the marks of human action—surfaces bearing traces of interaction, labor, care, and also the effects of erosion and destruction. His works challenge fixed ideas of private and public space and the roles we carry within them, envisioning construction as a tender world of hybrid forms where human and environment exist in constant co-creation.The exhibition is curated by&nbsp;Janine Mileaf, Executive Director and Chief Curator at The Arts Club of Chicago.&nbsp;Publication: To accompany the exhibition, the Arts Club of Chicago and Zolo Press, Mexico City, will copublish the artist’s first monograph with an essay by&nbsp;Alyce Mahon, Professor of Modern and Contemporary Art History and Fellow of Trinity College at the University of Cambridge, and support from Edel Assanti, London, Commonwealth and Council, Los Angeles, and Lehmann Maupin, New YorkPhoto:&nbsp;Truth Teller&nbsp;(detail), 2024. Steel, burlap, sand, polymer and rock. 93 x 30 x 24 in (236.2 x 76.2 x 60.9 cm). Photo by Elisabeth Bernstein. Courtesy of the artist and Lehmann Maupin Gallery.

Oren Pinhassi: Into Your Arms Length

Corbett vs. Dempsey is deeply honored to present&nbsp;Secondary Modern, an exhibition of paintings by Rodney Graham. This is the gallery’s first exhibition of the artist and the artist’s first in Chicago since his untimely death in 2022.&nbsp;With his paintings, Rodney Graham reversed time’s arrow.Convention, amongst conceptual artists, is for their painting practice to come first, to precede their transformation into full-fledged conceptualists. In Graham’s case, paintings came later, as part of his complex of different artistic activities, which included the photographic lightboxes for which he is best known, but also films, books, performances, songwriting, singing, bandleading, record making, sculpture, installation art, bakery ownership, and more. Among the personae the Vancouver-based artist created for his photographs were several art world archetypes – the collector, the dealer, and the artist. Graham inserted his own paintings into these works, in part as props, but also as the productions of an actual studio practice, which he reported finding “absorbing to a frightening degree.” The initial paintings, which incorporated many ideas from canonic modernist movements such as the School of Paris, CoBrA, and Abstract Expressionism, appeared in 2003 with a presentation of monochromatic works at the Venice Biennale, and continued in 2005 with his exhibition&nbsp;Picasso, My Master, at Johnen Galerie in Berlin, and in 2007 with&nbsp;Wet on Wet – My Late Early Styles&nbsp;at Lisson Gallery in London. All of these were small scale and most of them were painted directly by him. He went on to create a series of 84 huge, shaped panel paintings featuring permutations of two abstract designs from a satirical cartoon from an obscure 1950s pulp magazine; these were shown at Hauser &amp; Wirth in Zurich and Donald Young Gallery in Chicago in 2009. In subsequent works, what we might call Graham’s “early late” paintings, developed during the 2010s and continuing until his death, Graham borrowed visual elements from these original paintings, cut and pasted them together using a digital program, blew them up to monumental scale, and had them executed by studio assistants in order to change their facture.In&nbsp;Secondary Modern, CvsD presents seven of the “late early” canvases from 2004/5, small modernist paintings that are at once marvelous inventions of Rodney Graham and are at the same time, one step removed from that earnest endeavor, they are meditations on what it means to be a modern painting. Augmenting these rare examples of the first painterly output are two large-scale "early late"&nbsp;paintings from 2022, equally masterful, equally droll. In these incredible paintings, Graham seems to wonder how an object can be something and be a quotation of that thing at the same time. Image: Rodney Graham,&nbsp;Untitled,&nbsp;2022,&nbsp;oil and sand on linen,&nbsp;72 x 60 inches,&nbsp;77 5/8 x 65 5/8 x 2 5/8 inches, framed.&nbsp;

Rodney Graham: Secondary Modern

What does color feel like? In the hands of the artists gathered for Color Play, it feels like&nbsp;memory, motion, celebration, and wonder. Kim Storage Gallery is proud to present this vibrant group&nbsp;exhibition featuring the work of Poppy Dodge, Megan Woodard Johnson, Kathleen Waterloo, and Gretchen&nbsp;Warsen—four artists united by an unapologetic devotion to color as a primary language of expression.Across wildly different materials and methods, each artist approaches color not as decoration but as the very&nbsp;subject of their work. Poppy Dodge, a self-described Color Maximalist working in Sonoma County, California,&nbsp;builds richly layered abstractions inspired by improvisational quilting and collage—stacking shapes and hues&nbsp;into what she calls “playful color conversations” that stitch together a life’s worth of experience. Megan&nbsp;Woodard Johnson, a Milwaukee-based mixed media painter, layers paint and expressive drawn line with&nbsp;found ephemera—vintage ledgers, packaging, handwritten records—to map the beautiful, layered complexity&nbsp;of everyday moments. Her work captures how small, ordinary joys quietly accumulate into a life, and how&nbsp;color can carry the full weight of memory and mood. Kathleen Waterloo brings a uniquely architectural&nbsp;sensibility to the group: a former interior architect turned encaustic painter, she transforms aerial views,&nbsp;street maps, and structural blueprints into luminous abstract compositions rendered in molten wax and&nbsp;pigment. And Gretchen Warsen, working on a large scale in her studio, builds paintings through accumulation&nbsp;and intuition—layering opaque acrylic color, drawn line, and translucent fields while drawing inspiration from&nbsp;interior design, children’s illustration, and the eternal freshness of flowers. Her titles, arrived at through&nbsp;reflection and conversation with her daughters, serve as gentle invitations into each work’s emotional world.Together, these four artists make a compelling case that color is never neutral—it carries feeling, triggers&nbsp;memory, and opens dialogue between artist and viewer. Color Play invites visitors to slow down, look closely,&nbsp;and let color do what it does best: surprise, delight, and connect us to one another<a href="https://us.list-manage.com/rmKCk2gE3Bv?e=0feabe6389&amp;c2id=59e859111d676330d8f5e0c66464fc47" rel="noopener noreferrer" target="_blank">View the Exhibition</a> Artist Talks: Saturday, July 18 at 1 PM <a href="mailto:kim@kimstoragegallery.com?subject=RSVP%20for%20Color%20Play&amp;body=Hi%20Kim%2C%0A%0AI%20look%20forward%20to%20joining%20you." rel="noopener noreferrer" target="_blank">RSVP</a>

Color Play

This notorious episode from Glenn O'Brien's late 1970s NYC cable access TV show is a mess in all the best ways. The budgetless program served as a barometer of things that made New York glorious at that moment, including punk rock, underground film, experimental poetry, and postmodern art. Abounding with technical difficulties and featuring cameos by some of New York's most legendary hipsters,&nbsp;TV Party&nbsp;was a spirited improvisational playground–as Blondie's Chris Stein said of the hour-long show: "it's not chaos, it's art."

TV Party: The Sublimely Intolerable Show

Krasl Art Center presents&nbsp;Sculpture in the Direct Method, a group exhibition featuring Ajene Cetawayo Williams, Isaac Duncan III, Albert LaVergne, and Richard Hunt. On view from May 16 through August 9, 2026, the exhibition brings together two generations of artists to explore how material, form, and process shape contemporary and modern Black sculpture.Spanning generations of artistic practice,&nbsp;Sculpture in the Direct Methodexplores how artists engage abstraction, representation, and material process as interconnected and evolving strategies. The featured artists employ a range of visual languages, from gestural and improvisational approaches to more structured and symbolic forms, reflecting the breadth of contemporary and modern Black artistic practice.At the center of the exhibition is the direct method of metal sculpture, in which materials are cut, bent, and welded together to build form. This process allows for immediacy and revision, positioning material as an active and responsive element in the development of each work. Rather than adhering to predetermined outcomes, artists working in this way often allow form to emerge through interaction with their materials.Within this framework, abstraction operates as a critical language. Across Black sculptural traditions, abstraction has been used to engage complex histories and lived experiences. In this exhibition, abstraction and representation move fluidly, offering multiple ways of approaching identity and cultural expression.Sculpture in the Direct Method&nbsp;highlights the diversity of approaches and relationships within Black art, emphasizing how artists use material, form, and process to explore and reimagine social, cultural, and aesthetic landscapes.&nbsp; Other exhibition related events:PUBLIC P<a href="https://sfpwlrdab.cc.rs6.net/tn.jsp?f=0018nGdO601K0Us765swOcLJfngaCAZK9Xpmx94WQZZwxVfLw22_iXp3k1uBVdLFIQC9fQbVHFvHVSq1OPWsIwZ1hTMTJqhYjzWAErQJh9DQ2SrJ_Hy0oGG8LD6gSx35mpeIQxaf_aO8OwmoWtmFTvhKzxghxu7-PE_CN3c8A9MA91sPFQj1gmosg==&amp;c=wEhlYspdbK8skk8jBCXuB7cKSX69SRG4MTy-zyu4SDZvQvucsarXsg==&amp;ch=TDWbgZ80bkqthX-o6bdbvqljuVQ3OlTItpD2tUiNXIWEr5DM8-KA-w==" rel="noopener noreferrer" style="color: rgb(22, 22, 22);" target="_blank">REVIEW PARTY</a>Friday, May 15, 2026﻿﻿6 - 8 PMARTIST IN DIALOGUE:&nbsp;Isaac Duncan III and Ajene Cetawayo WilliamsSaturday, May 16,&nbsp;2026﻿﻿12 PM<a href="https://sfpwlrdab.cc.rs6.net/tn.jsp?f=0018nGdO601K0Us765swOcLJfngaCAZK9Xpmx94WQZZwxVfLw22_iXp3k1uBVdLFIQCGU3A5vO7RN90eKktov-ar5K8RfXWg4zaIRRBznJX1_xfYZe9VzsjCaxqBisvvFc6KXLxn4XKNMpl5PInNIUyyJpZcx3hq9fTFFRwqfimTkDMVzESSxqu4PMMVTnGc8Yy&amp;c=wEhlYspdbK8skk8jBCXuB7cKSX69SRG4MTy-zyu4SDZvQvucsarXsg==&amp;ch=TDWbgZ80bkqthX-o6bdbvqljuVQ3OlTItpD2tUiNXIWEr5DM8-KA-w==" rel="noopener noreferrer" style="color: rgb(22, 22, 22);" target="_blank">COFFEE WITH THE CURATOR</a>Thursday,&nbsp;May 21, 202612 - 1 PMCLASS OFFERINGS: ART AND LABORAges 13+(5) Tuesdays, 6 - 7:30 PMMay 26 - June 23&nbsp;Instructors Tami Fauver and&nbsp;Meli BanderaBased on the book&nbsp;Art and Labor&nbsp;by Ellen Boris and supplemental readings about Richard Hunt. For more information regarding the exhibitions, visit&nbsp;<a href="https://sfpwlrdab.cc.rs6.net/tn.jsp?f=0018nGdO601K0Us765swOcLJfngaCAZK9Xpmx94WQZZwxVfLw22_iXp3nDt0v7q1qrzW9pZxMrgzZKFbCEhszZ0BI3Ak268G3qKRRaUwHkV3YBxnGY3Fc1V0GoHCeLM5vjXQFdHyrE9d49pNF60MdLJIhsxui7xQqN7&amp;c=wEhlYspdbK8skk8jBCXuB7cKSX69SRG4MTy-zyu4SDZvQvucsarXsg==&amp;ch=TDWbgZ80bkqthX-o6bdbvqljuVQ3OlTItpD2tUiNXIWEr5DM8-KA-w==" rel="noopener noreferrer" style="color: rgb(36, 125, 146);" target="_blank">www.krasl.org</a>.

Sculpture in the Direct Method

In the North Gallery, CvsD presents&nbsp;Splatscape, featuring a single sculpture by Steven Urry.&nbsp;Steven Urry’s sculpture reminds me of number nine pasta.&nbsp;–&nbsp;Joe ZuckerSteven Urry (1939–1993) was based in Chicago and New York. Fabricated, as was much of Urry’s work from the late 1960s into the '70s, out of aluminum that had been cast and welded in his studio above the Biograph Theater, the monumental sculpture in&nbsp;Splatscapecomes from a period in which Urry was closely associated with the Chicago Imagist artists. His work was curated into numerous group exhibitions with members of the Hairy Who, False Image, and Nonplussed Some, and he showed alongside them at Phyllis Kind Gallery, despite the fact that his oeuvre was virtually all abstract. Biomorphic in the extreme, with unpainted metallic finishes, Urry’s globular, spurting, gooey sculptures often seemed to defy gravity, creeping up walls, dangling from the ceiling, or arcing high into the air. The sculpture featured in&nbsp;Splatscape&nbsp;dates from circa 1969, when a similar work adorned the façade of Loyola University’s library in Rogers Park and the Museum of Contemporary Art, Chicago, mounted a solo exhibition of related works titled&nbsp;Dribblescape. Urry’s work has not been exhibited since his 2012 retrospective at Koehnline Museum of Art, Des Plaines, Illinois. Image: Steven Urry in his Lincoln Avenue studio above Chicago's Biograph Theater, 1971. Photo: Mary Baber.

Steven Urry: Splatscape

Zolla/Lieberman Gallery is pleased to present&nbsp;Mont Blanc on Wood, an exhibition of new pen-and-ink drawings on jelutong panels by acclaimed American sculptor and printmaker John Buck. Best known for his carved wood sculptures and monumental woodblock prints, Buck has spent more than five decades exploring the intersections of history, popular culture, environmental stewardship, and contemporary life.&nbsp;Mont Blanc on Wood&nbsp;marks a significant evolution in Buck's practice. Departing from the densely layered imagery of his sculptures and prints, these intimate drawings focus on singular landscapes inspired by the American West. Mountains, forests, waterfalls, and geological formations emerge through finely rendered pen work that transform familiar places into surreal environments. Rather than constructing expansive symbolic narratives, Buck distills each composition into a focused meditation on the enduring beauty of the natural world.&nbsp;Buck's characteristic blend of observation, humor, and allegory are present throughout the exhibition. Drawn directly onto jelutong panels with a Montblanc pen, these works embrace a more immediate and personal approach while maintaining the meticulous craftsmanship that has defined his career. Environmental concerns surface throughout the series as landscapes become reflections on conservation and humanity's evolving relationship with the land. <a href="https://www.zollaliebermangallery.com/john-buck---mont-blanc-on-wood.html" rel="noopener noreferrer" target="_blank">Details</a>

John Buck: Mont Blanc on Wood

The next Project Space exhibition features designer and artist Maryangela Sanchez Rocca, whose work spans furniture, sculpture, and domestic objects. Sanchez Rocca’s practice emphasizes materials often overlooked and systems of making rooted in care, ritual, and collective labor.For this exhibition, Sanchez Rocca focuses on ixtle (EESH-tleh), a fiber extracted from the lechuguilla plant, native to northern Mexico. Historically used for brushes, ropes, sacks, and baskets, ixtle is closely tied to agricultural labor, land stewardship, and resistance within ejido farming communities. Drawing from knowledge shared by farmworkers in Coahuila, Mexico, Sanchez Rocca traces the material’s significance across Indigenous cultivation practices, colonial economies, and contemporary labor systems.Through sculptural furniture, screens, and immersive installations made from raw ixtle and Douglas fir, Sanchez Rocca transforms utilitarian tools such as brooms and brushes into forms that resist usefulness. The works challenge assumptions about labor, value, and beauty while honoring the many hands that shape materials. In Project Space, the exhibition becomes an environment for reflection, rest, and quiet power.Previous Exhibition: <a href="https://krasl.org/material-memory/" rel="noopener noreferrer" target="_blank">MATERIAL MEMORY</a>

Maryangela Sanchez Rocca

<a href="https://j2gallery.com/" rel="noopener noreferrer" target="_blank">Jackson Junge Gallery</a>&nbsp;is proud to announce their second solo exhibition of the year,&nbsp;<a href="https://j2gallery.com/exhibitions/upcoming/" rel="noopener noreferrer" target="_blank">THE SENSUAL LAND: 50 YEARS OF BODYSCAPES</a>, a retrospective and celebration of the career of artist Allan Teger. 2026 marks the 50th anniversary of Teger’s beloved photography series&nbsp;BODYSCAPES. Having toured the US for many years showing in exhibitions and art festivals, with collectors across the country and internationally, you may recognize Teger’s work. What started with studio film photography in 1976 is now photographed digitally, but the spirit and process of the work remain the same. Utilizing nude models and toy miniatures, Teger’sBODYSCAPES&nbsp;transform the human form into a landscape straight from an alternate reality; one where tiny mountain climbers scale the facade of a breast and cross-country skiers glide across the curve of a back. Using precise lighting, Teger casts the lines and curves of the body into shadow, making them appear more like a natural landscape than a human body. These images range from subtle to recognizable nudes.&nbsp;BODYSCAPES&nbsp;evolved from Teger’s study of psychology and interest in altered realities, subjective reality, and mystical consciousness. Teger’s interest in photography began in his youth when he became the school photographer for his high school and college. His photography pursuits were put on pause after he earned his PHD in psychology and began pursuing a career, eventually teaching at the University of Pennsylvania. Teger’s time in academic psychology left an impression on him artistically and spiritually. After shifting from teaching social psychology to the psychology of consciousness, he began looking for a way to explore his ideas in depth. He started hisBODYSCAPES&nbsp;series in 1976, focusing on the concepts of coexisting realities, the structure of our universe, and human perception. Teger eventually devoted himself full time to his art practice and over the 50 years since, he has experimented with different variations of his&nbsp;BODYSCAPES. Some of these include color, one-of-a-kind images, bodies covered in stockings, surreal&nbsp;BODYSCAPES,&nbsp;and most recently adding a sky into his scapes.&nbsp;THE SENSUAL LAND&nbsp;follows the evolution of Teger’s groundbreaking series.&nbsp;In his&nbsp;BODYSCAPES, it is important to Teger that the realities he is photographing are truly real; no photo editing or darkroom tricks. He utilizes high quality miniatures to ensure that the scene is as convincing as possible. Each composition is created on the model’s body and a single exposure is made with Teger's camera. The audience plays an important role in finishing the piece- Teger sees their reaction as the completion of the artwork.&nbsp;Most of the series is photographed in black and white, but early on there was some experimentation with color. Teger used a variety of colored lights to illuminate his subjects for different effects. A few of these images are included in the exhibition, including “<a href="https://j2gallery.com/store/special-exhibit/color-bodyscapes-apple/" rel="noopener noreferrer" target="_blank">Apple</a>”, which shows a torso lit in red, with a hissing snake and apple balanced on the model’s stomach. While he enjoyed this process, he found that photographing in color did not offer the same illusion as black and white.&nbsp;A unique portion of the exhibition is Teger’s&nbsp;<a href="https://j2gallery.com/store/special-exhibit/steroptiocon-card-skier-fishermen/" rel="noopener noreferrer" target="_blank">stereopticons</a>. A stereopticon is two side by side images slightly offset from one another, that when looked at through a specialized viewing piece, creates the illusion of a 3D image. The stereopticons provide a way for viewers to fully immerse themselves in a&nbsp;BODYSCAPE, becoming part of that reality while viewing the photograph.&nbsp;THE SENSUAL LAND&nbsp;will also show a special, one-of-a-kind piece created in 1977, a year after the&nbsp;BODYSCAPES&nbsp;series began. Teger’s “<a href="https://j2gallery.com/store/artists/allan-teger/bodyscape-photographs/seven-views-of-mt-fuji/" rel="noopener noreferrer" target="_blank">Seven Views of Mt. Fuji</a>” is comprised of seven photos mounted to a burlap scroll. It references Hokusai’s 36 views of Mt. Fuji and reimagines seven scenes from the famous series as&nbsp;BODYSCAPES. Originally part of an editioned set, it is the last of its kind.&nbsp;THE SENSUAL LAND&nbsp;takes us on a trek through the landscape of Allan Teger’s mind and the many realities he has created for us over the last 50 years. The artistic process and development of the beloved&nbsp;BODYSCAPES&nbsp;series will be on full display alongside other notable work from the accomplished photographer, including Teger’s&nbsp;BODY STOCKING SCAPES, COLOR BODYSCAPES,&nbsp;and&nbsp;ZODIAC SERIES.&nbsp;<a href="https://j2gallery.com/exhibitions/upcoming/" rel="noopener noreferrer" target="_blank">THE SENSUAL LAND</a>&nbsp;will be on view at Jackson Junge Gallery July 6th – August 9th, 2026. The gallery will be holding the exhibition’s opening reception on Friday, July 10th, from 6 pm – 9 pm. It is free and open to the public.&nbsp;THE SENSUAL LAND&nbsp;is curated by Owner Chris Jackson and Gallery Director Kaitlyn Miller.

The Sensual Land: 50 Years of Bodyscapes with Allan Teger

<a href="https://www.theccma.org/tsm" rel="noopener noreferrer" target="_blank">The Saturday Man: At the Edge of the Game</a> presents 53 photographs depicting the world’s most popular sport through the eyes of the acclaimed photographer Peter Robinson. Robinson has spent over six decades documenting everything from the intensely local British football of the 1960s, to the unconventional (and now defunct) North American Soccer League, and the evolution into today’s game of billionaires and superstars. His time as the official photographer for FIFA and contributions to publications, such as Onze and Sports Illustrated, cemented his reputation as one of the leading photographers of his generation. However, what defines Robinson as an artist is his distinctive skill in storytelling, utilizing football to explore the human condition. Through decades of change in the worlds of football and photojournalism, Robinson’s unique artistry contrasts an increasingly commercialized version of the formerly grassroots sport. His lens has stayed focused not only on the field, but also the communities at its edges. This singular perspective is why Pablo Maurer of The Athletic deemed Robinson, “Arguably the world’s greatest living soccer photographer.” The Saturday Man: At the Edge of The Game is presented in partnership with The Footy Museum.

The Saturday Man: At the Edge of the Game

Join us in celebrating the reopening of the gallery at&nbsp;3149&nbsp;N. Halsted&nbsp;tonight, 6-9pm.Old Friends is pleased to present&nbsp;ReCentering, a secondary iteration of our inaugural&nbsp;Centering&nbsp;exhibition.&nbsp;Same artists, new works, same ethos of returning to purpose, place, and practice. Ava Igoe, Michelle Chun, Tong Pan, and Emily Schroeder Willis.As M. C. Richards writes in her seminal 1964 text:&nbsp;“An act of the self, that’s what one must make. An act of the self, from me to you. From center to center.”ReCentering&nbsp;will be on view through August 15th. Please email the gallery to schedule a viewing.&nbsp;<a href="mailto:office@oldfriendsgallery.com?subject=ReCentering%20%7C%20Preview%20Request&amp;body=" rel="noopener noreferrer" target="_blank">Request a Preview</a>Thank you for your continued support of our program! We look forward to christening this new location, and welcoming back our wonderful community of friends and colleagues.

ReCentering

For our summer exhibition, we will present five distinct bodies of work that exist somewhere between a traditional group show and a series of solo exhibitions. Spanning all three gallery spaces, the exhibition offers independent presentations by each artist, creating the experience of moving through a collection of intimate, mini solo shows housed within a larger collective framework. The gallery is especially thrilled to present New York based artist Melody Tuttle for the first time.&nbsp; Additionally, and we look forward to expanding on this in the coming weeks, we are pleased to announce that the gallery now fully represents Isamar Medina. This exhibition will debut the first of four planned bodies of work to be presented over the next two years, each with 6 works on paper and two paintings, culminating in Medina's first solo exhibition with the gallery in 2027.&nbsp;

Five Bodies

DOCUMENT Chicago is delighted to present a solo exhibition by Kazuhito Tanaka, opening on Friday, June 12. In Picture(s), Tanaka continues his exploration of the convergence of painting and photography across over a dozen mixed media works: equally formed by abstract paintings and collages made of torn chromogenic photographs, the works in the exhibition suggest a series of dialogues from their two distinct materialities. The exhibition runs from June 12 to August 15, 2026, with an opening event on Friday, June 12, from 5-8pm.

Kazuhito Tanaka: Picture(s)

Woman Made Gallery presents&nbsp;Pro/Fuse, a juried exhibition celebrating the art of encaustic, featuring 48 women and non-binary artists from across the United States. Derived from the Greek&nbsp;enkaustikos, meaning “to burn in,” encaustic is a versatile medium traditionally composed of beeswax, damar resin, and pigment, fused through the application of heat. Juried by Kathleen Waterloo, this exhibition showcases the breadth of the medium’s expressive range, from luminous, translucent surfaces to richly textured, sculptural forms, spanning painting, mixed media, assemblage, and experimental works that push the boundaries of wax as an artistic material.Opening Reception:&nbsp;July 11, 2026 | 4–7 p.m.Artist Walkthrough &amp; Closing:&nbsp;August 13, 2026 | 2–4 p.m.

Pro/Fuse

Thru August 15 Hilton Contemporary | Bridgeport3622 S. Morgan StreetChicago, IL 60609 Techniques: Mixed MediaMixed media with 3D printing techniqueSculptureChromed resin skull with over 3,000 Swarovski stones and custom dye stingray skinPrintsArchival Fine Art Pigment Print on Hahnemühle Fine Art Baryta paper <a href="https://hiltoncontemporary.com/exhibitions/the-art-of-becoming-jonas-leriche/" rel="noopener noreferrer" target="_blank">Details</a>

Jonas Leriche: The Art of Becoming

The Prix Pictet is widely recognized as one of the world’s leading photography awards. Founded in 2008 by the Pictet Group, it seeks to harness the power of photography to draw global attention to critical sustainability issues. To date, the award has completed eleven cycles, each organized around a theme that highlights a distinct facet of sustainability.&nbsp;Storm&nbsp;is the theme of the eleventh cycle.Storm&nbsp;is both a natural phenomenon and a metaphor for the unseen and relentless forces shaping the world today. As a theme, it speaks to the growing volatility of our age, encompassing environmental collapse, political upheaval, economic instability, and social unrest, situating us perpetually on the brink of crisis.The theme challenges photographers to capture the raw energy and far-reaching consequences of these turbulent conditions. Whether addressing the devastation of climate disasters, experiences of displacement, or the simmering tensions within divided societies,&nbsp;Storm&nbsp;reveals not only disruption but also its generative force: the possibility of transformation, renewal, and hope that can emerge in its aftermath. The twelve shortlisted artists are:Takashi Arai (Japan/Germany)Marina Caneve (Italy)Tom Fecht (Germany/Italy)Balazs Gardi (Hungary/USA)Roberto Huarcaya (Peru)Alfredo Jaar (Chile/USA)Belal Khaled (Palestine)Hannah Modigh (Sweden)Baudouin Mouanda (Republic of the Congo)Camille Seaman (Denmark/USA)Laetitia Vançon (France)Patrizia Zelano (Italy)Alfredo Jaar was announced as the winner for his series&nbsp;The End, 2025 Support for this exhibitionMoCP is supported by Columbia College Chicago, MoCP Advisory Board, Museum Council, individuals, private and corporate foundations, and government grants.The 2025–2026 exhibition season is sponsored in part by the Comer Family Foundation, Efroymson Family Fund, Henry Nias Foundation, the Phillip and Edith Leonian Foundation, the Pritzker Traubert Foundation, Rowan Foundation, United States Artists, and Venable Foundation. MoCP also acknowledges support from the Illinois Arts Council and a CityArts grant from the city of Chicago Department of Cultural Affairs and Special Events. Image: Takashi Arai, 6 April 2013, Trinity Site, White Sands Missile Range, New Mexico, 2013, from the series “Exposed in a Hundred Suns”

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