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

Dispossession—the deprivation of land, culture, language, or all three—has been a defining and enduring condition across the Americas, initiated by the expansion of European colonialism.&nbsp;Dispossessions in the Americas:&nbsp;The Extraction of Bodies, Land, and Heritage from La Conquista to the Present&nbsp;brings&nbsp;together&nbsp;more than 40 works by 36 contemporary artists from across Latin America whose work broadly seeks to critique and unsettle the long-standing politics of dispossession. Curated by&nbsp;Jonathan D. Katz, Associate Professor of Practice, History of Art and Gender, Sexuality, and Women's Studies, University of Pennsylvania, and Eduardo Carrera, the exhibition is presented by Alphawood Exhibitions.Dispossessions in the Americas&nbsp;features&nbsp;photographs, videos, installations, performances, sculptures, and paintings&nbsp;produced between 1960 and 2025.&nbsp;A selection of these artworks circulated in Latin American museums from 2021 to 2025 as part of the&nbsp;<a href="https://protect.checkpoint.com/v2/r01/___https:/dia.upenn.edu/en/___.YzJ1Om5ld3N3ZWJsbGM6YzpvOjFjOGQzMDUxNWM3Yjg5ZWRkNWM0ZTU0ZWM5MWRmNTQ1Ojc6MmRiNzoxYmE1NzM5MWExMGQxNjdjMTdkZGVmMDk2Y2E2MGExN2FlNTZlNDg2YTZmMDQwYTJhNGQ5M2M0Njc4ZGJiN2Y0OnA6RjpG" rel="noopener noreferrer" target="_blank">Dispossessions in the Americas&nbsp;project</a>, a transdisciplinary research project, teaching initiative, and community engagement program led by the University of Pennsylvania with support from the Mellon Foundation. Organized around three constellations — Territory, Body, and Cultural Heritage — the exhibition explores the colonial legacies in the Americas as territories marked by dispossession (of land, culture, and language) and their continued effect on Indigenous, Afro-descendant, queer, and trans communities, while also fostering resistance and reimagined forms of belonging.Featured artists include:&nbsp;Karina Aguilera Skvirsky, Colectivo Ayllu, Colectivo Tawna, Deborah Anzinger, Carlos Arias, Archivo de la Memoria Trans, Purita Pelayo, Felipe Baeza, Tania Bruguera, Saskia Calderón, Seba Calfuqueo, Javier Cardona Otero, Wilson Díaz, Frau Diamanda/Héctor Acuña, Augusto Falconi, Ani Ganzala, Frank Gaudlitz, Camilo Godoy, Regina José Galindo, Thomas Locke Hobbs, David Lozano, Cinthia Marcelle, Laryssa Machada, Carlos Martiel, Ana Mendieta, Joiri Minaya, Lulu Molinares, Lizette Nin, Kiván Quiñones, Madorilyn Crawford, Miguel Ángel Rojas, Deborah Thomas, Gihan Tubbeh, Javi Vargas Sotomayor, Antonio Wong Rengifo, Rember Yahuarcani, and Luis Fernando Zapata.

Dispossessions in the Americas

Soft Evidence is a solo exhibition by Mami Takahashi that brings together video, textile-based installation, performance documentation, and collaborative works to explore how women’s bodies communicate, resist legibility, and carry memory within everyday life. Rooted in attentiveness rather than spectacle, the exhibition considers the body as both a site of expression and a surface onto which social expectations, histories, and perceptions are projected.

Soft Evidence

Sculptor Angie Seykora repurposes fibers, vinyl, beads, plastics, wire, and found objects to create site-specific installations and sculptures. "These types of materials combined with intuitive approaches and responses to making result in non-representative works that incite the visual and tactile senses." Our gallery space will be activated by these large, compelling sculptures that are refined through this exploration of material.&nbsp;

Geometries In Light

See the latest from Chicago 's young photographers at Student Perspectives 2026! Now in its fifteenth year at Perspective Gallery, the juried exhibit of photographic artists from Chicago area high school artists will be on display May 7th – 31st.&nbsp;&nbsp;For the show, juror <a href="https://perspectivegallery.us3.list-manage.com/track/click?u=04a588cae42ffc5c2d944d823&amp;id=9f2f3e6c33&amp;e=d73170d386" rel="noopener noreferrer" target="_blank">Kelli Connell</a> selected best work from 750+ images submitted by more than 261 photographers at 21 area high schools and programs. Connell is a Chicago artist whose work investigates sexuality, gender, identity and photographer-sitter relationships. 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, and the Museum of Contemporary Photography.Selected Student ArtistsHuge congratulations to all Student Perspectives 2026 artists: Anthony Acevedo-Nolfi, Amare'David Agboyi, Aliyah Akpan, Daniel Alvarez, Marcus Arzadon, Alejandro Ascencio, Jacob Ballard, Farhan Basha, Vanya Bass, Teddy Berhane, Siena Bowen, Lilyanne Cheng, Natalie Choi, Dillon Dochenetz, Thomas Doyle, Shay Field, JunHao Gao, Mikaela Gonzalez, Mila Gordon, Derren Gutierrez, Adam Holland, Lucas Hoobler, Gregory Howard, Ethan Hui, Henry Jacobson, Sebastian Juarez, Reah Krasnopolskaya, Dawa Lama, Pia Larkin, Nicholas Livatino, Cole Lusson, Justin Miller, Jessica Moy, Bruno Olson, Errol Ozer, Natalie Parra-Merino, Nino Pinto, Emiliano Rodrigues, Hedi Sellami, Miles Sheppard, Dolores Skenadore, Francis Somol, Talia Spector, Jannat Thakur, Isaiah Turk, Myles Vendel, Julian Walker, Kevin Watts, Eli Wener, James Whittenberger, Jadelyn Winkler and Pamela Youssef.Cooperating High Schools include Buffalo Grove, Evanston Township, Fresh Lens/Chicago High School for the Arts, Fresh Lens/Prosser Career Academy, Glenbrook South, Highland Park, Lane Tech College Prep, Libertyville, Morton West, Niles North, Niles West, and Vernon Hills. Image: Natalie Choi,&nbsp;Gratitude for Independence

Student Perspectives

The Museum of Contemporary Art Chicago is excited to announce the Chicago presentation of&nbsp;<a rel="noopener noreferrer" href="https://mcachicago.us4.list-manage.com/track/click?u=c24ba7c5a91cefd699dc985e1&amp;id=01546b90d5&amp;e=4ba592fe2a" target="_blank">Firelei Báez</a>, the first North American survey exhibition of the artist (b.1980, Santiago de los Caballeros, Dominican Republic; lives in New York) running from November 15, 2025, to May 31, 2026. Spanning two decades of Báez’s spirited practice, this landmark exhibition showcases her vibrant and captivating paintings and installations. Through a bold visual language that blends folklore, fantasy, mythology and science fiction, Báez constructs layered worlds that challenge dominant historical narratives and unsettle the often-fixed categories of race, gender and nationality. In this exhibition, Báez also emphasizes resilience and creative agency, especially among marginalized communities who have always found ways to create refuge and power in defiance of systems of repression.Known for her richly pigmented, multidisciplinary approach, Báez combines saturated colors, intricate patterns and expressive figuration with abstract gestures, architectural plans, colonial-era maps and culturally resonant symbols. Her work draws deeply from Afro-Caribbean traditions and acts as a cultural and historical crossroads for the enduring legacies of colonialism across the Americas, the African Diaspora and the cultural nexus of the Caribbean. This major exhibition reaffirms Báez’s place as one of the most compelling and visionary artists of her generation.In addition to her dynamic paintings, the exhibition will feature one of her more immersive pieces,&nbsp;A Drexcyen chronocommons (To win the war you fought it sideways)&nbsp;(2019), which will occupy an entire gallery at the MCA. This large-scale work consists of paintings, mesh, papier-mâché, cutout tarp and plants that, together, transport visitors into one of Báez’s created worlds. Chicago is also highlighted in the exhibition:&nbsp;The trace, whether we are attending to it or not (a space for each other’s breathing)&nbsp;(2019) features a ciguapa (a feminine, trickster creature from Dominican folklore) bending over an architectural plan of the Illinois Central Railroad, uniting both sides of the tracks, which run between New Orleans and Chicago, to restore the divisions left by colonial trade.Firelei Báez&nbsp;is organized by the Institute of Contemporary Art/Boston and curated by Eva Respini, Deputy Director and Director of Curatorial Programs, Vancouver Art Gallery (former Barbara Lee Chief Curator, ICA/Boston), with Tessa Bachi Haas, Assistant Curator, ICA/Boston. The Museum of Contemporary Art Chicago presentation is organized by Carla Acevedo-Yates, former Marilyn and Larry Fields Curator and Director of Curatorial Initiatives, with Cecilia González Godino, former Marjorie Susman Curatorial Fellow, and Iris Colburn, Curatorial Associate. ABOUT THE ARTISTFirelei Báez (b. 1980, Santiago de los Caballeros, Dominican Republic; lives in New York)&nbsp;was born to a Dominican mother and a father of Haitian descent. Her upbringing between Hispaniola’s two countries, which have a longstanding history of tension predicated on ethnic difference, informs her concerns with the politics of place and heritage. She currently lives and works in New York City.Báez received an M.F.A. from Hunter College, a B.F.A. from the Cooper Union’s School of Art, and studied at the Skowhegan School of Painting and Sculpture. She is the subject of her first major US survey, which originated at the ICA/Boston, curated by Eva Respini, and is now traveling. Her work has been presented in many significant international exhibitions, including the inaugural installation of the ICA Watershed, Boston (2021), curated by Eva Respini, which traveled to The Momentary in Bentonville, Arkansas; and The Milk of Dreams at the 59th Venice Biennale (2022), curated by Cecilia Alemani. Recent solo presentations of Báez’s work include exhibitions at Louisiana Museum of Modern Art, Humlebaek; Witte de With Center for Contemporary Art, Rotterdam; The Museum of Modern Art, New York; The Studio Museum in Harlem, New York; The Andy Warhol Museum, Pittsburgh; and Pérez Art Museum Miami. The artist has recently participated in a number of group exhibitions at major institutions, such as the National Gallery of Art, Washington, DC; Cleveland Museum of Art; Art Gallery of Ontario, Toronto; Baltimore Museum of Art; and Rockbund Art Museum, Shanghai. She is the recipient of many awards, most recently the Cooper Union President’s Citation (2022), Artes Mundi Prize (2021), and Philip Guston Rome Prize (2021). Báez’s work is held in many significant private and public collections; the latter include the Baltimore Museum of Art; Crystal Bridges Museum of American Art, Bentonville, AR; Dallas Museum of Art; Fine Arts Museums of San Francisco; Guggenheim Abu Dhabi; Institute of Contemporary Art, Boston; The Marieluise Hessel Collection, Hessel Museum of Art, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY; Nasjonalmuseet, Oslo; Pérez Art Museum Miami; San Francisco Museum of Modern Art; Sindika Dokolo Foundation, Luanda,Angola; Solomon R. Guggenheim Museum, New York; The Studio Museum in Harlem, New York; Tate, London; and Whitney Museum of American Art, New York. SUPPORTMajor support for&nbsp;Firelei Báez&nbsp;is provided by the Henry Luce Foundation and The Andy Warhol Foundation for the Visual Arts.This project is supported in part by Karen and Brian Conway, David and Jocelyne DeNunzio, Mathieu O. Gaulin, The Kotzubei-Beckmann Family Philanthropic Fund, Lise and Jeffrey Wilks, and an anonymous donor.Lead support for&nbsp;Firelei Báez&nbsp;at MCA Chicago is provided by the Harris Family Foundation in memory of Bette and Neison Harris, the Zell Family Foundation, Cari and Michael Sacks, and R. H. Defares.Major support is provided by Laura and Tony Davis and Linden Capital Partners, Newcity, Robin Loewenberg Tebbe and Mark Tebbe, and Charlotte R. Cramer Wagner and Herbert S. Wagner III of Wagner Foundation.Generous support is provided by Nickol and Darrel Hackett, Hauser &amp; Wirth, the Margot and W. George Greig Ascendant Artist Fund.This exhibition is supported by the MCA’s Women Artists Initiative, a philanthropic commitment to further equity across gender lines and promote the work and ideas of women artists ABOUT THE MUSEUM OF CONTEMPORARY ART CHICAGOThe Museum of Contemporary Art Chicago is a nonprofit, tax-exempt organization accredited by the American Alliance of Museums. The MCA interweaves exhibitions, performances, collections, and educational programs while providing a place for audiences to contemplate and discuss contemporary art in pursuit of a creative and diverse future. The MCA believes in the values of inclusion, diversity, equity, and accessibility (IDEA) as a platform to enact structural change. The museum is generously supported by its Board of Trustees; individual and corporate members; private and corporate foundations, including the John D. and Catherine T. MacArthur Foundation; and government agencies. The MCA is a proud member of Museums in the Park and receives major support from the Chicago Park District.&nbsp;<a rel="noopener noreferrer" href="https://mcachicago.us4.list-manage.com/track/click?u=c24ba7c5a91cefd699dc985e1&amp;id=91a06bd7c9&amp;e=4ba592fe2a" target="_blank">The MCA is located at 220 E. Chicago Avenue</a>&nbsp;and is open 10 am to 5 pm Wednesday to Sunday and Tuesdays from 10 am to 9 pm. Tuesday evenings (5-9 pm) are free for Illinois residents. The museum is closed on Mondays.&nbsp;Admission is free for all youth 18 and under, members of the military and veterans, and MCA members. Free admission for anyone 18 and under is generously provided by Liz and Eric Lefkofsky, and Northern Trust. Find more information about MCA's exhibitions, programs, and special events at&nbsp;<a rel="noopener noreferrer" href="https://mcachicago.us4.list-manage.com/track/click?u=c24ba7c5a91cefd699dc985e1&amp;id=0649146eaa&amp;e=4ba592fe2a" target="_blank">mcachicago.org</a>&nbsp;or at 312.280.2660.

Chicago Presentation of Firelei Báez

<a rel="noopener noreferrer" href="https://qvrzaq.clicks.mlsend.com/tj/cl/eyJ2Ijoie1wiYVwiOjM4NzU1NixcImxcIjoxNzMyNDE4MTEyMDcxOTM2NjMsXCJyXCI6MTczMjQxODIzMzYxMjM4NTIwfSIsInMiOiJiODA1ZjgyMzJkOTJmODAxIn0" target="_blank">Sarah Smelser: Sandia</a>Sandia&nbsp;is&nbsp;an ongoing series of monotypes begun in 2023. For Smelser, contemplation of the situational experience of being in&nbsp;a specific physical space is central, and to this end she seeks out impactful landscapes. Her daily ritual of walking becomes a method of attuning to the shifting qualities of light, smell, sound, and the subtle rhythms of a place; the unpacking of these sensory perceptions into visual form is the basis of her practice.Though the works in the "Sandia" series were born of a particular place, they do not attempt to describe it. Instead, the visual and physical experience of place—its memories, impressions, and contrasts to familiarity—feeds Smelser’s abstract sensibility. Fifteen works from the series are shown in this collection.The "Sandia" prints emerged from the artist’s lifelong love of the high desert environments of the American Southwest and, more specifically, from several weeks she spent at an artist residency in Albuquerque, NM, in 2022. Albuquerque sits on land that slopes from the Sandia Mountains down to the Rio Grande. The Sandias—Spanish for watermelon—were named for their warm pink-red color at sunset. The city presses up against the mountains, and harsh desert conditions permeate the urban environment. The intersection of the urban and natural landscapes became a particular focus for Smelser during her daily plantigrade perambulations.

Sarah Smelser: Sandia (online exhibition)

This exhibition marks the first time Matisse’s&nbsp;Jazzwill be shown in its entirety since the Art Institute acquired it in 1948. One of the most important artist books of the 20th century,&nbsp;Jazz&nbsp;joins more than 50 works from the museum’s renowned collection of paintings, sculpture, drawings, prints, illustrated books, and textiles to showcase Matisse’s commitment to continual innovation and the expressive power of color and line.

Matisse’s Jazz: Rhythms in Color

Celebrating a remarkable fifty-year period of artistic invention, this exhibition largely comprises drawings never before seen outside of Dunham’s own studio and highlights a more holistic look at his career. This show will strengthen our understanding of Dunham’s explorations of figuration to abstraction and everything in between.

Carroll Dunham: Drawings, 1974–2024

DOCUMENT is delighted to present&nbsp;Dabin Ahn’s first solo exhibition with the gallery, opening on Friday, March 27.Dabin Ahn (b. 1988, Seoul, Korea) lives and works in Chicago, IL. He creates paintings populated by flora, fauna, vessels, candles, and ceramic fragments, motifs that function as representations of the self. Ahn’s paintings also incorporate sculptural elements such as hand-built frames that part to reveal images along the canvas edge. Light plays a central role in the artist’s lexicon, suggesting an illuminating presence even when its source is hidden. These elements collectively blur the boundaries between the material and the imagined, evoking an emotional depth reflective of the human experience. Ahn received a BFA and MFA from the School of the Art Institute of Chicago. Selected solo exhibitions include François Ghebaly, Los Angeles; OCHI, Los Angeles; Harper’s, New York; 1969, New York. Recent group exhibitions include Make Room, Los Angeles; Harper’s, East Hampton; and The Hole, Los Angeles. His work can be found in the permanent collections of the High Museum of Art, Atlanta, GE; X Museum, Beijing, China.

Dabin Ahn: Nocturne

Sarah BedfordDay BrièrreJosiah EllnerLéa LeFloc'h Elise Seigenthaler Gallery is pleased to present&nbsp;Before We Knew Better, a group exhibition featuring Sarah Bedford, Day Brièrre, Josiah Ellner, and Léa LeFloc’h, whose practices draw on narrative, folklore, and personal mythology to explore our enduring relationship with the natural world. Across painting, ceramics, and works on paper,&nbsp;Before We Knew Better&nbsp;gathers works that feel at once intimate and mythical, suspended at the intersection of memory, imagination, and observation.&nbsp;Before knowledge becomes fixed and ingrained, the world is encountered through instinct and emotion, narrative and storytelling. The works in&nbsp;Before We Knew Better&nbsp;echo this sensibility, evoking a time when the boundary between the real and the imagined was more diaphanous and permeable. Throughout the exhibition, flora, fauna, and landscapes are depicted across varied materials. Simplified forms, vibrant color palettes, and illustrative gestures imbue the works with a tone that feels both immediate and out-of-time. A close-cropped painting of a unicorn’s milky eye, ringed with fur, reflects a shooting star passing through the luminous sky. Insects and birds adorn intricately patterned vessels. Winding golden roads meander through softly-rendered mountains.&nbsp;Rather than depicting nature as a fixed or distant subject, the artists approach it as a living presence shaped by memory, experience, and intuition. Their works suggest environments where traces of human life appear alongside vast or mysterious forces: secret gardens, shifting terrains, and intimate moments of quiet grandeur that seem to exist just beyond the veil of ordinary perception.As the gallery’s second exhibition,&nbsp;Before We Knew Better&nbsp;continues Elise Seigenthaler Gallery’s interest in work that feels imaginative, and open-ended. The exhibition invites viewers into a space where imagined worlds that feel at once ancient and visionary.-Malena Steelberg

Before We Knew Better

We are delighted to announce a new solo exhibition and it is one you will not want to miss.&nbsp;Opening April 15 and running through June 7, this exhibition brings the luminous, atmospheric paintings of Quebec-based artist&nbsp;France Jodoin&nbsp;to Milwaukee.&nbsp;Jodoin works in oil on linen, creating bold, semi-abstract seascapes and landscapes where the boundaries between land, water, and sky dissolve into pure feeling. Drawing from European Romantic masters — Turner, Rembrandt, Gustave Moreau — while remaining entirely her own, her canvases are not depictions of specific places but rather inventions: collages of memory, travel, cinema, and quiet contemplation.&nbsp;“I am inspired by a trip I may have taken years ago, a clip from a film, or abstract thoughts that I am compelled to express on canvas. But each piece shares in common an invitation to the viewer to become part of the narrative.”— France Jodoin&nbsp;Her work is held in prestigious collections including the Sherbrooke Museum of Fine Arts, Loto-Québec, and Cirque du Soleil. Over a twenty-year international exhibition career spanning Canada, the United States, and Europe, Jodoin has earned a devoted following drawn to her rare ability to make painted light feel inhabited.France's art literally does not stay on the gallery walls long. Her art is highly collected. We are&nbsp;fortunate to receive 12 new artworks at once. If you want to acquire a Jodoin for the first time or add to your collection, don't wait long.

Liminal Worlds: France Jodoin's Contemporary Romanticism  

Future Now: Virtual Sneakers to Cutting-Edge Kicks is a groundbreaking new exhibition featuring nearly 60 futuristic footwear designs pushing the boundaries of what footwear can be. Exhibiting an incredible mix of fashion, design, gaming, new media, architecture, and material arts as well as sustainable and collaborative practices, the exhibition showcases work by designers as diverse as Rem D. Koolhaas and Zaha Hadid, innovators Mr. Bailey and Salehe Bembury, as well as designs made in collaboration with fashion icons Rick Owens, Stella McCartney, and Yohji Yamamoto, and top gaming and innovation companies such as PlayStation, Gravity Sketch, and more.Future Now features sections exploring Innovation, Sustainability, Transformative, and Virtual shoes. Exhibition highlights include the self-lacing Nike MAG (first conceived for the movie Back to the Future Part II), digitally designed and 3D-printed shoes, sneakers made from mushroom leather and reclaimed ocean plastics, virtual footwear, and more.“The future is always being shaped by the present. The exhibition includes many incredible and innovative new footwear designs that are promising to transform what we will wear tomorrow. From sneakers created to address issues related to sustainability and inclusion to shoes that blur the line between the real world and the metaverse, this exhibition explores how forward-looking creators are helping us step into the future.”—Elizabeth Semmelhack, Director and Senior Curator, Bata Shoe Museum

Future Now: Virtual Sneakers to Cutting-Edge Kicks

Opening Reception for Part 1: Saturday, May 2, 2026, 4pm–7pm&nbsp;Curator Talk: 4pm&nbsp;&nbsp;Palomar&nbsp;is a group exhibition about watching the sky, something that appears deceptively simple. Featuring twenty-eight artists, it unfolds in two parts, each five weeks long. Some works remain in place while others come and go, this encounter in time acting like a double exposure. Gradually, the familiar act of looking up spills over into a sense of life that is more layered and complex, or even contradictory. It turns out there is a lot at stake in the space above us.&nbsp;Decades ago, after the launch of the first satellite into orbit, humans had big dreams of leaving the Earth. Politicians, poets, and scientists made public comments in this spirit. Today it’s mostly billionaires who talk of escape, or of mining the planets out there. The rest of us look to the sky from the ground as life carries on. An earlier age of optimism around space exploration and human progress has given way to a new era, as the stars fade from view in our cities, new technologies emerge with unsettling effects, and those in power surveil from above. Through it all, the sky is a steady presence. The sun rises and sets. The moon, too. The stars come out, where you can see them. We organize our lives by these patterns. They infuse our concepts, our sense of time, and our language, even when they’re not on our minds.Part 1 of&nbsp;Palomar&nbsp;introduces certain celestial rhythms and cycles, while thinking about astronomy and other forms of observation in everyday life. It also begins to draw out experiences of time, as it is marked, measured, and perceived. Part 2 brings into view changing relationships with technology and the militarization of the skies. Both parts are shadowed by the question of what one sees and what one doesn’t, and the roles that images play, especially photographs, often wrapped up with the comforts and discomforts of distance.&nbsp;The exhibition borrows its title from the name of an observatory on a California mountaintop, which once had the largest optical telescope in the world. It lost that distinction in 1976, but it is still used to study the stars. In the eighties, Italo Calvino wrote a book about a man who shares his name with that place:&nbsp;Mr. Palomar, a seeker of the cosmic in the commonplace and an unflagging, if absentminded, observer. Taken together, these two touchstones evoke different kinds of observation and attention.&nbsp;Looking overhead can be a way to understand one’s place in the world, as it has been for thousands of years. Given the many ways people watch the sky or look to the cosmos, from scientific study to the habits of daily life, there are just as many different things to think or feel. The movement of the heavenly bodies offers a measure of continuity in the face of destabilizing change; the view above can be a source of solace, a realm of startling beauty, a reminder of something larger than oneself. The sky can also be a dark premonition, a site of violence or grief, a reminder of what there is to lose, or for many what is already gone. Sometimes it’s all of this at once.Curated by Karsten Lund.&nbsp;Artists featured:Part 1 (May 2–June 7, 2026)&nbsp;Darren Almond, Sarah &amp; Joseph Belknap, Myriam Boulos, Vija Celmins, Paul Fägersköld, Pierre Huyghe, Rinko Kawauchi, Jason Lazarus, Tony Lewis, Aspen Mays, Eadward Muybridge, John Opera, Chantal Peñalosa Fong, Kathleen Ryan, Carrie Schneider, Heji Shin, Erin ShirreffPart 2 (June 10–July 13, 2026)&nbsp;Sarah &amp; Joseph Belknap, Myriam Boulos, Vija Celmins, Cynthia Daignault, Paul Fägersköld, Lawrence Abu Hamdan, Sebastian Jefford, Jordan Kantor, Tony Lewis, Eadweard Muybridge, John Opera, Trevor Paglen, Torbjørn Rødland, Kathleen Ryan, Heji Shin, Erin Shirreff, Alec Soth, Shomei Tomatsu, Samira Yamin&nbsp;Videos online&nbsp;(Parts 1 &amp; 2)Allora &amp; Calzadilla, Chantal Peñalosa Fong, Simon Starling, Alice Wang&nbsp;CreditsLead support for this exhibition is provided by School Museum Fund, The Hees Family.&nbsp;Friends of Palomar Patron Circle: Maria Christina &amp; Guy-Karim Caland Puymartin, and Zach Smith.&nbsp;Renaissance Society programs are supported by Teiger Foundation and The Andy Warhol Foundation for the Visual Arts.&nbsp;EventsOpening Reception (Part 1)Sat, May 2, 4–7pmTalk at 4PM between curator Karsten Lund and Steven L. Bridges (MSU Broad Art Museum)&nbsp;Walkthrough (Part 1)Sun, May 17, 1PMLed by Karsten Lund&nbsp;WorkshopSun, May 17, 3PMLed by Karsten Lund and Joshi Radin Flores&nbsp;Performance: Whitney Johnson, Lia Kohl, and Macie StewartSat, Jun 13, 4PM&nbsp;Opening Reception (Part 2)Sat, Jun 13, 5–7PM&nbsp;Walkthrough (Part 2)Thu, Jun 18, 6:30PMLed by Karsten Lund&nbsp;Performance Lecture: Day &amp; Night with Sarah &amp; Joseph Belknap&nbsp;Sun, Jun 21, 12PM &amp; 10PM12PM Logan Center for the Arts, Screening Room10PM Midway Plaisance Winter GardenVisit&nbsp;<a href="http://renaissancesociety.org/" rel="noopener noreferrer" target="_blank">renaissancesociety.org</a>&nbsp;for more information.&nbsp;

Palomar (Part 1)

Please join us on Wednesday, April 8th from 5 - 7 pm for the opening reception of our new exhibition,&nbsp;Melanie Parke: Viridescence.&nbsp;The show features sixteen paintings inspired by the landscape, shorelines, fields and gardens surrounding the artist's Northern Michigan studio.&nbsp;Melanie Parke's work combines brilliant color with enchanting views and objects that evoke a sense of sense of warmth and memory. Her layered, painterly compositions reveal an intuitive sense of balance, structure and light.&nbsp;&nbsp;Join us to meet the artist and celebrate Spring with an exhibition that reflects the new light, blossoms, color and promise of the season. We look forward to seeing you this Wednesday at our Winnetka gallery!564 Lincoln Avenue in Winnetka

Melanie Parke: Viridescence 

Join us&nbsp;tomorrow (Thursday, May 14, from 6:00 to 8:00 pm)&nbsp;as we celebrate the new show at the Kavanagh Gallery!&nbsp;Art 2026 showcases the work of artists who have taken classes at Fine Line.Meet some of the artists and other members of your Fine Line community and view the incredible art.This reception, like all Fine Line receptions, is free and open to everyone. Light refreshments will be served.

Art 2026

Ivan Le Lorraine Albright,&nbsp;Bernece Berkman-Hunter,&nbsp;Oscar Bluemner,&nbsp;Aaron Bohrod,&nbsp;Philip Evergood,&nbsp;David Fredenthal,&nbsp;Childe Hassam,&nbsp;Joseph Hirsch,&nbsp;Frederick D Jones, Jr.,&nbsp;&nbsp;Reginald Marsh,&nbsp;Lawton Parker,&nbsp;Jules Pascin,&nbsp;Edna Reindel,&nbsp;George F. Schultz,&nbsp;William S. Schwartz,&nbsp;Everett Shinn,&nbsp;John Sloan,&nbsp;&nbsp;Jack Keijo Steele,&nbsp;Harry Sternberg,&nbsp;Anthony Thieme, and&nbsp;Abraham Walkowitz&nbsp;

From the Archives: Works on Paper

Exhibiting Artists:&nbsp;&nbsp;Jacob Futhey, Glen Gauthier, Kate Hendrickson, and Kara Cobb Johnson&nbsp;Madron Gallery presents&nbsp;Tell Me What You See, a group exhibition featuring four contemporary Chicago artists; Jacob Futhey, Glen Gauthier, Kate Hendrickson, and Kara Cobb Johnson. On view March 26 through June 12, 2026, with an opening reception on Thursday, March 26th, 5:30 – 8:30 pm. The reception and exhibition are free and open to the public.Paper: a flat plane of existence where boundaries are created by set dimensions defined by the physicality of the sheet; a reality where flat or irregular edges, hot or cold press, color, and weight are determining factors in not only the construction of an artwork, but also its presentation. In an age where artists are discovered by endless scrolling through social media, websites, online publications, and videos - the choice of paper - a physically often subtle support structure seems poignant. A quiet call to slow down, look closely -and explore the unknown. These four Chicago artists are creating artworks that challenge the viewer to look beyond the surface of the paper and discover the emotions that lie within their creations of photography, collage, and printmaking. Each artist has a dramatically different approach to their use of paper, but all four artistic practices are bound together by experimentation and multi-layered creative processes that reexamine each medium.<a href="https://www.jfuthey.com/" rel="noopener noreferrer" target="_blank">Jacob Futhey</a>&nbsp;(b. 1983)&nbsp;has described his artwork as “quiet companions, portals for pause.”&nbsp;Abstracting a composition in camera, it is only after the image is printed does Futhey begin to transform a piece. Archival ink jet photographs act as the base of his mixed media artworks, with the artist often using paint, pastels, colored pencils, grommets, and other materials in his artistic process. Futhey has exhibited his work at Second Story Studio, Chicago, Storm Print Studio, Evanston, IL, and Filter Photo, Chicago, IL.<a href="https://www.glengauthier.com/" rel="noopener noreferrer" target="_blank">Glen Gauthier</a>&nbsp;(b. 1965)&nbsp;uses a wide range of printed ephemera in creating mixed media collages that address both personal childhood memories and ideals, as well as universal truths.&nbsp;Gauthier’s visual aids that are reflective and often sourced from 1950s Americana, include images of architecture, automobiles, tools, scientific ledgers, and books.&nbsp;A graduate of the University of Louisiana at Lafayette, Gauthier has exhibited his work in Dallas, Texas, Los Angeles, CA, New York, NY, and Chicago, IL.<a href="https://www.katehendrickson.com/" rel="noopener noreferrer" target="_blank">Kate Hendrickson</a>&nbsp;(b. 1952)&nbsp;combines the art forms of drawing and photography, creating digital compositions by layering and editing hand drawn color pencil illustrations in Photoshop, resulting in giclée prints on archival cold-press paper.&nbsp;Henrickson holds an MFA from the University of Denver, and has taught at Barat College, Forest Park, IL and the School of the Art Institute of Chicago, Chicago, IL. Her work has been exhibited at the Heller Museum, New York, NY,&nbsp;SPAACES, Sarasota, FL, Bridgeport Art Center, Chicago, Chicago, IL, as well as&nbsp;in Print Fairs at the McNay Fine Art Museum, San Antonio, TX, the Minneapolis Institute of Art ,Minneapolis, MN, and the Cleveland Museum of Art, Cleveland, OH.&nbsp;<a href="https://karacobbjohnson.com/home.html" rel="noopener noreferrer" target="_blank">Kara Cobb Johnson</a>&nbsp;(b. 1976)&nbsp;is a Chicago-based artist, curator, and educator.&nbsp;Dedicated to creating conceptual pieces, Johnson uses everyday objects in all forms of her artistic practice, including installations, sculpture, and printmaking.&nbsp;&nbsp;Experimenting with the process and properties of screen printing, Johnson’s new work on paper explores the materiality and use of a paper bag.&nbsp;Johnson received a BA from Northeastern Illinois University and studied at the University of Chicago –Graham School of Continuing Liberal and Professional Studies. In July 2023, Johnson was awarded a Chicago Department of Cultural Affairs and Special Events Individual Artist Grant to create, curate, and coalesce new work for 2024. This is Johnson’s second group exhibition at Madron.

Tell Me What You See

Juried Group ShowHarmony is often hard to achieve. But let's be honest: Do we always want harmony? How tensions are resolved, make peace with, or completely defy opposition can be more enlightening.&nbsp;We want the clash. We want the contradiction. Let's see the fight!CONFLICT OF INTERESTS is about friction. It is about using the “wrong” material on purpose. It is about the disconnect between what something looks like and what it says.ShadowBoxX Gallery has asked 50 talented artists from across the country to show us what that disconnect looks like.

Conflict of Interests

Grey James’ latest works are concerned with his personal experience as a trans man, having experienced significant harassment and defamation. These works have become supercharged with emotion and defiance in response to being targeted by anti-trans individuals. PJOB is an acronym for “Pink Jerkoff Boy,” the title of a painting sold in 2017 that was used by James’ tormentors as evidence of his depravity. James has repurposed this title to reclaim his power.

Grey James: PJOB

Zolla/Lieberman Gallery is proud to announce&nbsp;Golden Vision: Zolla/Lieberman Gallery Celebrates 50 Years, a landmark anniversary exhibition honoring five decades of commitment to contemporary art, collecting, and the enduring relationship between artist, audience, and community. Featuring works by 150 artists spanning the gallery's history, the exhibition offers a sweeping reflection on a legacy that has helped define Chicago's cultural landscape.&nbsp;Established through the leadership of Roberta Lieberman and Bob Zolla in 1976, the gallery was founded on the conviction that contemporary art should be publicly accessible and integral to the cultural life of the city. Over the decades, Zolla/Lieberman became one of Chicago's longest-running contemporary galleries and among the first to establish itself in Chicago's now-historic River North neighborhood, helping transform it into one of the country's most vibrant gallery districts.&nbsp;Golden Vision&nbsp;traces ZLG's remarkable journey through a wide-ranging presentation of painting, sculpture, drawing, photography, and mixed media by artists whose work has shaped the gallery's identity from its earliest years to the present day. Historic figures and long-standing gallery relationships appear alongside emerging voices, creating a dynamic conversation across time.&nbsp;Today, under the leadership of William Lieberman and Director Brian Gillham, the gallery continues to evolve while remaining rooted in the values that shaped its founding. As the gallery enters its next chapter,&nbsp;Golden Vision&nbsp;stands as both a celebration of what has been built and what is still to come. Explore The Exhibition: Golden Vision Read CGN's spring 2026 article about Zolla/Lieberman's 50th Anniversary <a href="https://www.chicagogallerynews.com/articles/zollalieberman-a-golden-vision-for-a-50th-anniversary" rel="noopener noreferrer" target="_blank">here</a>

Golden Vision: Zolla/Lieberman Gallery Celebrates 50 Years

GRAY is pleased to announce&nbsp;Roger Brown: Weathervane, the first monographic exhibition at the gallery dedicated to Brown since announcing exclusive representation of the artist’s estate.&nbsp;Opening at GRAY Chicago on March 19,&nbsp;Weathervane&nbsp;explores the artist’s vision of an emotionally charged contemporary life set at the tense border between the built environment and the natural world.Featuring eleven paintings from the 1980s and 1990s, the exhibition reflects Brown’s clarity of vision as an artist both unafraid to face sociopolitical headwinds and unable to ignore ecological destruction.The exhibition opens with a public reception from 5-7 PM on March 19 and remains on view through June 13.&nbsp;Roger Brown: Weathervane&nbsp;will travel to GRAY New York for a presentation at the gallery’s Madison Avenue space opening on July 8.<a href="https://ennouncement.exhibit-e.com/t/y-l-ajdujlt-sykijfhl-t/" rel="noopener noreferrer" target="_blank">Learn More</a> Installation view of&nbsp;Roger Brown: Weathervane, GRAY Chicago, 2026. Artwork © The School of the Art Institute of Chicago and the Brown Family.

Roger Brown: Weathervane

Corbett vs. Dempsey is delighted to present Nicola Florimbi,&nbsp;Rooms. This selection of new paintings is the gallery's first exhibition with the artist.In Nicola Florimbi's paintings, domestic interiors are transformed into staged environments, solemn spaces of everyday&nbsp;intrigue, where exterior views appear sometimes vertiginously close, a mere step or two away from ritual interactions enacted by expressionless figures. These players and the curiously still moments in which they are suspended circumvent clear narrative, their distant gazes trapping tropes of family and school like bees in amber. Drawing on traditions of still life, genre painting, and psychological realism, Florimbi's canvases include references – both direct and oblique – to other artists, from Pieter de Hooch and Jean-August-Dominique Ingres to Balthus and Christina Ramberg. A kind of social geometry is plotted in these scenarios, relationships organized as positions in space, the incarnation of a system of power and knowledge, emotional inflection provided by means of a painterly hand.&nbsp;Nicola Florimbi (b. 1994) received her MFA from the School of the Art Institute of Chicago and studied at Rhode Island School of Design and Otis College of Art and Design. She has participated in numerous group shows, most recently&nbsp;Master Class, Secrist/Beach, Chicago.&nbsp;Rooms&nbsp;is Florimbi's solo debut. Nicola Florimbi,&nbsp;Room,&nbsp;2026,&nbsp;acrylic on canvas,&nbsp;54 x 67 inches.&nbsp;﻿

Nicola Florimbi: Rooms

Architect / Artist&nbsp;Wallace Bowling&nbsp;assembles numerous&nbsp;constructs&nbsp;in a&nbsp;10’ X 10’ X 10’&nbsp;Boxx&nbsp;at Bert Green Fine Arts, 8 South Michigan Avenue,&nbsp;concurrent with Expo Chicago 2026.&nbsp;The title&nbsp;Ensemble&nbsp;- individual components regarded as single and complete,&nbsp;forming a larger, more complex whole - is ideal.&nbsp;Ensemble opens Saturday, 11 April and runs through Saturday, 13 June.&nbsp;Opening Reception is on Saturday,&nbsp;11 April&nbsp;from 5:00 to 7:00 pm.&nbsp;Artist Talk is on Saturday,&nbsp;9 May&nbsp;from 2:00 to 4:00 pm.Closing Reception is on Saturday,&nbsp;13 June&nbsp;from 2:00 to 4:00 pm.The artist will be present at all events. “An artwork is not complete until it is viewed.”Marcel Duchamp, 1957&nbsp;

Wallace Bowling: Ensemble

John Stezaker, the British artist known for his groundbreaking conceptual collage cycles,&nbsp;debuts a new body of work&nbsp;at GRAY Chicago this spring. Titled&nbsp;Raft, the exhibition features a series of uncanny landscapes that mend together two images from the artist’s archives to create a single composition. Sourced from nineteenth-century British books—ostensibly about world travel, but flaunting the geographic extent of the empire—Raftis a continuation of the radically incisive collage techniques Stezaker has been pursuing for nearly six decades.The exhibition opens at GRAY Chicago on Saturday, March 28 with an artist walkthrough at 2:30 PM and a public reception from 3-5 PM.<a href="https://ennouncement.exhibit-e.com/t/y-l-atiikhl-tjjiiihhyu-t/" rel="noopener noreferrer" target="_blank">Learn More</a>

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