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

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

<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

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://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”

Prix Pictet Storm

Within the past&nbsp;several years, I have been making wall-mounted mixed media objects out of everyday materials.&nbsp;With a process-driven, improvisational approach, I allow chance and contingency into the work.&nbsp;A major project has been investigation of the possibilities of salvaged corrugated cartons.&nbsp;I also employ wood elements, both purchased and found, cast-off scraps, repositories of my own and others' decision making.&nbsp;By bringing materials into my studio, I can live with and consider them over time.&nbsp;I begin without a preconceived end in mind and proceed in a spontaneous way, bending, cutting, sawing, ripping, stomping, reconfiguring, gluing, until a form resonates. Surface treatments often include white house paint, scantily applied to suggest weathering and allowing exposure of structural seams.&nbsp;Inspiration for these pieces resides in the pulse of urban surroundings--architecture, construction and the accompanying debris, abandoned structures, fragmentation as well as the anxiety of instability and fragility of life.For a large part of my career,&nbsp;drawing has been the primary focus of my practice. Strongly influenced by minimalism, I employ varieties of wet and dry media to develop series of works on paper, the content addressing tensions among flat shapes and lines, the energy between them, their relationship to negative space as well as to the edges of the support. My approach is to begin with an element, adding information to develop a visual dialogue, mindful of restraint, challenging myself to know when to stop. The final images are distillations of experiential incongruities, with a prominent role given to negative space, referencing the weight of silence, of things unsaid.Pivot, 2022. Plywood, Acrylic, 10" x 6.5" x 2.5"

 Marian Carow

After All, Paintings and Prints&nbsp;presents new paintings in Gallery 1 and in Gallery 2, a retrospective, dating back to 1975, of his extensive printmaking practice. Please join us for an opening reception for the artist on&nbsp;Friday, June 12&nbsp;from&nbsp;5 to 8pm. The show runs through August 15, 2026. See more&nbsp;<a href="https://jxxaepcab.cc.rs6.net/tn.jsp?f=001DDJn5t7SCLROnu6EMLFiBqENtS3VLsfOwXpRh9eOk29q7cpssoKP-yYzN93tY-X05grKdOldBcB97V-F0zAK3jyEqX7sz1OTfWQw0ZuzpXq2bTmkrhaM9TDR9kEoIHldpelsOqUkdm8kXd7SHWjBKAz8hzQHC-sX6RBNogRPe3e0Mvv6bkHLuedFr5rVTrrx&amp;c=aMLPF4QjAKVcuZKFyu56mxtUzlOc411YFFS4Nx8zcU5oFs57J_n3kQ==&amp;ch=yiAePaIDDPz2Kklw6mHV6qlxcozMk5l7mMVZwyR6JZEtiLOg43GNYw==" rel="noopener noreferrer" target="_blank">here</a>﻿Image: Duet , 2023, Oil and wax ground on linen. 48h x 60w in

Richard Hull: After All, Paintings and Prints

The John Michael Kohler Arts Center (JMKAC) will debut&nbsp;Emily Endo: Estuary, a new exhibition by artist Emily Endo (they/them), on view from February 7 through August 16, 2026.Endo’s largest exhibition to date,&nbsp;Estuary&nbsp;marks JMKAC’s first scent-focused exhibition, inviting visitors into a multisensory experience that explores the body and perception. Endo is known for intricate glass sculptures that reference vascular systems, organic structures, and the porous boundaries between bodies and environment. In&nbsp;Estuary, they expand this practice by integrating scentwith sculptural forms, engaging visitors through both sight and smell. The exhibition challenges conventional modes of looking, encouraging audiences to experience art through embodied and sensory awareness. “Emily Endo’s work asks us to reconsider how meaning is formed through the senses,” said&nbsp;Chava.Krivchenia, Assistant Curator at the John Michael Kohler Arts Center. “By aligning scent alongside sculpture,&nbsp;Estuary&nbsp;creates intuitive ways of engaging with art.”Smell plays a central role in the exhibition. Closely tied to memory and emotion, scent has the power to transport, influence mood, and reshape perception. Rather than functioning as an accessory, curated fragrances throughout the gallery act as an extension of the sculptural works themselves. Drawn from minerals, seawater, metal, glass, and organic compounds, these scents reference both natural environments and industrial processes, serving as connective tissue between material, memory, and the body. Estuary&nbsp;also considers how perception differs across species. While humans tend to prioritize vision, many animals rely on smell or sound to navigate the world. Featured works incorporate a turtle shell, highlighting the overlapping and divergent ways animal and human bodies experience their environments. Through this lens, the exhibition invites reflection on the boundaries—both physical and perceptual—that shape how we understand and navigate the world.In addition to their artistic practice, Endo is an educator whose teaching background in glass, scent, and sculpture informs their approach to making. Their studio practice is grounded in curiosity, experimentation, and care, viewing the studio as a site of discovery and learning.Endo will also serve as the first 2026 artist-in-residence for ExAir, JMKAC’s residency program. Their time on- site will support deeper community engagement through public events and offer visitors insight into their evolving creative process.About Emily Endo Emily Endo works across sculpture, scent, and installation, pursuing a research-driven practice grounded in material experimentation and sensory experience. They hold an MFA from Cranbrook Academy of Art (2010) and a BFA from the Maryland Institute College of Art (2006). Endo’s work has been exhibited at Somerset House (London); Massey Klein (New York); Marta, Harkawik, and the Neutra VDL House (Los Angeles); LVL3 (Chicago); and Bullseye Projects (Portland). Recent press includes: The New York Times Style Magazine, Wallpaper, and Architectural Digest. Endo lives and works in Joshua Tree, California. Emily Endo. Photo courtesy of the artist.About the John Michael Kohler Arts CenterFounded in 1967, the John Michael Kohler Arts Center (JMKAC) is a nonprofit creative hub that supports the work of contemporary artists through original exhibitions, commissions, residencies, publications, and community programming across visual and performing arts. The only institution in the world that collects artist- built and artist home-based environments, JMKAC is a leading center for the research, preservation, and presentation of artists with wide-ranging practices and backgrounds from academically trained to self-taught and folk traditions, championing long-term relationships with artists and elevating work that has often been overlooked or under-recognized. JMKAC is a vital cultural resource that responds to the needs of its local and regional communities, preserving artistic heritage by uplifting contemporary voices and empowering future generations.HoursTuesday, Wednesday, Friday: 10:00 a.m.–5:00 p.m.Thursday: 10:00 a.m.–8:00 p.m.Saturday, Sunday: 10:00 a.m.–4:00 p.m. Image: Emily Endo,&nbsp;Orphic Diadem, 2024; glass, stainless steel, and fragrance; 22 x 22 x 10 in. Photo: Margeaux Walter.

Emily Endo: Estuary

Opening January 31, 2026, at the John Michael Kohler Arts Center (JMKAC),&nbsp;Lenka Clayton and Phillip Andrew Lewis: Rock Fade (~45&nbsp;Billion&nbsp;Years)&nbsp;is a large-scale installation by artist-collaborators Lenka Clayton and Phillip Andrew Lewis. Inviting viewers into an encounter with deep geological time, human perception, and our impulse to order the natural world, the work consists of a carefully selected sequence of stones arranged in a perfect line, gradually diminishing in size. This deceptively simple gesture becomes a profound meditation on material, meaning, and scale, prompting visitors to consider how aesthetic experience is shaped not only by material form, but also by embodied perception and collective engagement.&nbsp;&nbsp;“Rock&nbsp;Fade&nbsp;takes something deeply familiar, a stone, and asks us to encounter it in a new light. As the sequence shifts from boulder to sand, the work reveals how perception, movement, and shared experience shape what we understand as art,” states&nbsp;Jodi Throckmorton, Chief Curator at the John Michael Kohler Arts Center. “Relocating the installation across phases challenges us to reflect on our own role in ordering, witnessing, and ultimately returning these materials to the world.”&nbsp;&nbsp;On view through August 16,&nbsp;Rock Fade (~45&nbsp;Billion&nbsp;Years)&nbsp;references local and global rituals of marking time and space with stones, through collection, spirituality, and boundary setting. The work engages a deep human tradition to collect, order, control, and define the natural world against the backdrop of the slow transformation of rocks across ancient seas, volcanic flows, and glacial drifts; always in motion, even in their stillness. This juxtaposition highlights the tension between the human impulse to order and the inevitable processes of erosion and transformation that characterize geological time, revealing the work’s core inquiry: that the act of arranging the stones is both fleeting and monumental. Over time, the artwork will erode, scatter, and reintegrate with the earth, resulting not in failure, but in fulfillment.&nbsp;&nbsp;Rock&nbsp;Fade&nbsp;(~45&nbsp;Billion&nbsp;Years)&nbsp;builds on the conceptual framework of an earlier gesture of stone placement found in the artist environment of pioneer fiber artist Lenore G. Tawney (1907-2007) at JMKAC’s Art Preserve, in which Tawney arranged a subtle gradient of rocks from large to small. The work becomes a form of intergenerational dialogue—artists speaking to one another across time not by replicating but by amplifying, through matter, order, and attention. Clayton and Lewis will be Lenore G. Tawney Fellows at JMKAC in 2026, a fellowship that fosters new engagement with Tawney’s art environment, made possible with support from the Lenore G. Tawney Foundation. Candidates are encouraged to apply with projects that study overlooked aspects of works and movements related to Tawney or discuss previously unexplored connections between those works and art from other disciplines.&nbsp;&nbsp;“Rock Fade&nbsp;engages with the tradition of artist-built environments and the Arts Center’s work to preserve them while embracing the processes that shape them, offering a rare opportunity to witness an artwork that lives, changes, and integrates back into the environment over time. We’re proud to collaborate with Lenka Clayton and Phillip Andrew Lewis as this project unfolds with our community,” adds&nbsp;Amy Horst,&nbsp;Executive&nbsp;Director of the John Michael Kohler Arts Center.&nbsp;&nbsp;Rock Fade&nbsp;is designed to shift the audience’s relationship to material, scale, and time as it unfolds through multiple phases starting with the exhibition at the John Michael Kohler Arts Center (January 31-August 16, 2026). The linear installation in a white-cube space depicts the stones removed from their natural setting, placed in a controlled environment that invites close-looking and contemplation.&nbsp;&nbsp;On September 19, 2026, a community procession will follow, inviting participants of all ages and ability to help transport the stones from the gallery to an outdoor site. The procession is logistical and symbolic: an act of communal labor, care, and transformation that becomes a form of glaciation and procession through movement, merging geologic time with collective human effort. The procession will conclude at the Art Preserve where Lenka Clayton and Phillip Andrew Lewis will utilize the rocks for a long-term outdoor installation. The procession will be documented in a film to extend its impact and reach.&nbsp;&nbsp;For its final phase,&nbsp;Rock Fade&nbsp;will come to rest where, for years to come, environmental forces will erode and reshape the installation. Visitors will encounter the work embedded in the land, part as sculpture, part as earthwork, with accessibility top of mind to ensure a wide range of bodies are able to experience the piece.&nbsp;The project, through all the stages, reminds visitors to slow down, notice matter, and share responsibility for how they move through time and space, particularly potent during a global moment of political and climate crisis and shortened attention spans.&nbsp;&nbsp;About&nbsp;Lenka&nbsp;Clayton&nbsp;Lenka Clayton is an interdisciplinary artist whose work considers, exaggerates, and alters the accepted rules of everyday life, extending the familiar into the realms of the poetic and absurd. Clayton is the founder of&nbsp;An Artist Residency in Motherhood, a self-directed, open-source artist residency program that takes place inside the homes and lives of artists who are also parents.&nbsp;&nbsp;Recent exhibitions include&nbsp;Rising Sun&nbsp;(2023) at Pennsylvania Academy of the Fine Arts in Philadelphia,&nbsp;Day Jobs&nbsp;(2023) at the Blanton Museum of Art,&nbsp;The Museum Collects Itself&nbsp;(2023) at the Mattress Factory Museum in Pittsburgh,&nbsp;and&nbsp;To Begin Again&nbsp;(2022) at ICA Boston. Clayton’s work has been supported by The Warhol Foundation and The National Endowment for the Arts. She has received an Art&nbsp;Matters Award, a Carol R. Brown Award for Creative Achievement, and a Creative Development Grant from Heinz/Pittsburgh Foundation. She has been an artist-in-residence at The Fabric Workshop and Museum, PA and Headlands Center for the Arts, CA and was a Sabrina Merage Fellow with Black Cube Nomadic Art Museum.&nbsp;&nbsp;Clayton’s work is held in the permanent collections of The Metropolitan Museum of Art in New York, SFMoMA in California, Hamburger Kunsthalle in Germany, Mount Holyoke College Art Museum in Massachusetts, and The Carnegie Museum of Art, The Pennsylvania Academy of the Fine Arts, and The Philadelphia Art Museum in Pennsylvania. Permanent public artworks include Darkhouse Lighthouse, and Historic Site, both made with collaborator Phillip Andrew Lewis.&nbsp;&nbsp;About&nbsp;Phillip&nbsp;Andrew&nbsp;Lewis&nbsp;Phillip Andrew Lewis is a Philadelphia-based artist who works in a variety of media including photography, video, objects, and sound. His creative research often responds to historical events, psychology, and phenomenology. This work consistently examines duration, perceptual limits, and attentive observation. Lewis is actively involved in collaboration with artists and various groups.&nbsp;&nbsp;Phillip has exhibited his work both nationally and internationally. He received a 2012 Creative Capital Grant in Visual Art for his ongoing long-term project entitled SYNONYM. He has also received generous support for his research from Black Cube, Headlands Center for the Arts, Culture and Animals Foundation, Center for Creative Photography, Foundation for Contemporary Arts in New York, Fathomers, Bemis Center for Contemporary Arts, Midway Contemporary Arts Fund, Tennessee Arts Commission, University of Tennessee, UrbanArt Commission, The Heinz Endowments, The Pittsburgh Foundation, and Sabrina Merage Foundation. In collaboration with his wife, Lenka Clayton, he runs a project space in Pittsburgh called Gallery Closed, which is open 24/7 via two street-facing windows.&nbsp;&nbsp;

Lenka Clayton and Phillip Andrew Lewis: Rock Fade (~45 Billion Years)

Dust That Lay explores the fleeting thoughts, inscrutable dreams, and fragmented memories that seep through subconscious containment and glisten through the veil of reality. Herman Aguirre, Diana Noh, and Skyler Simpson explore the unresolved detritus of the past as foundational for forming knowledge that can radically shift understandings of personal identity and how we navigate our shared reality.Spanning sculpture, photography, painting, and drawing, each artist surrenders to the unknown, exposing a devotion to their rawest, most uncontained tendencies.Herman Aguirre pulls imagery from his surroundings in Back of the Yards, Chicago, and revives them in sculptural paintings where he reveals the residual imprint of violence on his community. Diana Noh tears, folds, and repairs photographs of transitional spaces to examine presence within absence and reveal how the past continually interrupts and inhabits the present. Skyler Simpson employs automatism, teasing the strand between precision and intuition in her meticulously&nbsp;drawn, monochromatic fluid-scapes, submerging viewers into a mysterious world where beauty and horror coexist.Dust That Lay engages with Hauntology, a cultural philosophy suggesting the present is haunted by elements of the past as well as their unrealized futures. To this end, each artist interrogates the subconscious remnants that we may not readily understand but know play an active role in interpreting the various layers of the present moment. Herman Aguirre is a Mexican American artist born and raised in Chicago, IL, where he is currently based. Through his detailed drawings and large-scale, multi-layered paintings, he reconstructs memories to find adequate language to confront and co-exist with the realities of his experience growing up in Back of the Yards, Chicago. He received his BFA (2014) and MFA (2017) from the School of the Art Institute of Chicago, where he is currently a faculty member in the Painting and Drawing Department and a youth instructor in the Continuing Studies Early College Program. Aguirre's notable awards include University of Saint Francis Visiting Artist, Fort Wayne, IN (2021); Thelma Karges Memorial Merit Award, Evansville Museum of Arts, Evansville, IN (2018); and was one of 8 artists awarded the Leonore Annenberg Fellowship (2017-2018). Aguirre has exhibited in solo and group exhibitions across the country and has also been featured in New American Paintings - Midwest (2018, 2019, 2020, and 2022). Several of his pieces are in the permanent collections of the Phoenix Art Museum, Phoenix, AZ; the Rockford Art Museum, Rockford, IL; and the National Mexican Museum of Art, Chicago, IL. Aguirre is represented by Zolla Lieberman Gallery, Chicago, IL, and Portrait Society Gallery, Milwaukee, WI.<a href="https://www.hermanaguirre.org/home-copy-1" rel="noopener noreferrer" target="_blank">hermanaguirre.org</a><a href="https://www.instagram.com/herman.aguirre.35/" rel="noopener noreferrer" target="_blank">@herman.aguirre.35</a> Diana Noh is an interdisciplinary artist working across photography, fiber, and installation. Her practice celebrates reconstructions of distressed photographs of transitional spaces, exploring themes of trauma embedded in her family relationships and cultural in-betweenness. Noh received her BFA from Kyungil University, Gyeongsan, South Korea (2017) and her MFA in Photography from Cranbrook Academy of Art, Bloomfield Hills, MI (2022). She has participated in group and solo exhibitions at national and international art venues, including Strata Gallery, Santa Fe, NM; Red Springs Art Space, Artsy, Red Springs, NC; Harold Washington Library Center, Chicago, IL; Editart, Geneva, Switzerland; and Space HNH, Seoul, South Korea. Noh has participated in artist residencies with Kimball Arts Center, Chicago, IL (2026); Peninsula School of Art, Fish Creek, WI (2022); and Talking Dolls, Detroit, MI (2022). She has also been awarded the Freestyle Focus Forward Award, Society for Photographic Education (2026); Monthly Art Award, Boynes Emerging Artist (2023); and was a featured artist in the Sunspot Soho catalog and digital exhibition, Aedra Fine Arts (2024). Her work has been acquired by several private collectors as well as the Jennifer and Dan Gilbert Collection, Detroit, MI; and Kyungil University Collection, Gyeongsan, South Korea.<a href="https://diananoh.com/" rel="noopener noreferrer" target="_blank">diananoh.com</a><a href="https://www.instagram.com/diananohstudio/" rel="noopener noreferrer" target="_blank">@diananohstudio</a> In her paintings and drawings, Skyler Simpson explores the mysterious nature of intuition, a phenomenon that connects our world to the otherworld. She received her BFA from the University of Nebraska-Lincoln (2018) and her MFA from the University of Wisconsin-Madison (2024). Simpson’s work has been exhibited in solo exhibitions at Abel Contemporary Gallery, Stoughton, WI; Gallery 7, Madison, WI; and Lux Center for the Arts, Lincoln, NE. Her pieces have been featured in group exhibitions across the country, including Red Arrow Gallery at Oz Arts, Nashville, TN; New York Academy of Art, New York, NY; Day &amp; Night Projects, Atlanta, GA; and La Luz de Jesus Gallery, Los Angeles, CA. Simpson was most recently recognized as a Luminarts Visual Arts Finalist (2026) and her work was selected for the AXA Art Prize Exhibition in 2022, 2023, and 2024. Her work has been featured in New American Paintings (April/May 2024), <a href="http://juxtapoz.com/" rel="noopener noreferrer" target="_blank">juxtapoz.com</a> (2021), POBA Zine, issue n*6 (2020), and <a href="http://booooooom.com/" rel="noopener noreferrer" target="_blank">Booooooom.com</a> (2020). Simpson is represented by Abel Contemporary Gallery, Stoughton, WI.<a href="https://www.skysimpson.com/" rel="noopener noreferrer" target="_blank">skysimpson.com</a><a href="https://www.instagram.com/skylersimpsonart/" rel="noopener noreferrer" target="_blank">@skylersimpsonart</a> rachel dukes is a Texas-born and raised independent writer and curator based in Chicago, IL. She received a degree in Accounting from the University of Arkansas, Fayetteville, AR, and her MA in Museum and Exhibition Studies at the University of Illinois Chicago, Chicago, IL. She currently leads the Archives and Collections department at the South Side Community Art Center (SSCAC) and has supported the curation of exhibitions at Gallery 400, Hyde Park Art Center, and SSCAC, where she most recently co-curated Beyond Frames: Black Women Collectors Shaping Cultural Heritage in Chicago. Her exhibition reviews and artist interviews have appeared in several Chicago-based publications, including Sixty Inches From Center, LVL3, New City, and Chicago Reader. Her writing has also been featured in the 2022-2023 issue of Black Embodiments Studio, A Year in Black Art, and the Spring 2025 issue of the International Journal of Surrealism, Surrealism and the Black World. Rachel serves as board chair for Chicago Tap Theatre and plays the French Horn in community ensembles across Chicago.<a href="https://www.racheled.com/" rel="noopener noreferrer" target="_blank">racheled.com</a><a href="https://www.instagram.com/__racheldukes/" rel="noopener noreferrer" target="_blank">@__racheldukes</a> Skyler Simpson,&nbsp;The Streetlight, 2025, Colored pencil on mounted paper, 10” x 8”

Dust That Lay

Gallery VICTOR presents Creature Feature, an exhibition that brings together artworks where animal imagery takes on a cinematic, strange, and unforgettable life of its own. Drawing from fantasy, natural history, mythology, and the suspenseful language of film, the exhibition transforms creatures into symbols, characters, and unexpected forces of imagination. Insects, birds, beasts, hybrids, and otherworldly beings appear in scenes that feel both playful and uncanny, inviting viewers into a world where the familiar becomes fantastical. Visually charged, mysterious, and full of surprise, Creature Feature celebrates the animal form as a gateway into storytelling, transformation, and the wonderfully unusual.Including works by:<a href="https://us.list-manage.com/19JASLthdA7?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">Adrian BARQUERO</a><a href="https://us.list-manage.com/De52XhnFUSh?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">Rick BEERHORST</a><a href="https://us.list-manage.com/hQQm2X2BM57?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">Oliver Hazard BENSON</a><a href="https://us.list-manage.com/19gVKc7IAav?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">Jane BIRCH</a><a href="https://us.list-manage.com/14vVju2TAS4?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">Mary BLOCK</a><a href="https://us.list-manage.com/yxLVU1bL35p?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">Donald Owen COLLEY</a><a href="https://us.list-manage.com/3zerZ4mF6O3?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">Jeff CONROY</a><a href="https://us.list-manage.com/dglQQIjcVyn?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">Jesús CURIÁ</a><a href="https://us.list-manage.com/14sa2TRUDeU?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">Eric Edward ESPER</a><a href="https://us.list-manage.com/QX3Q4JK1ybK?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">Tina FIGARELLI</a><a href="https://us.list-manage.com/Au8Vz5nDy3b?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">Rose FREYMUTH-FRAZIER</a><a href="https://us.list-manage.com/Qcmb8ZR6jiF?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">John HREHOV</a><a href="https://us.list-manage.com/KHXIzB_MuQe?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">Wesley KIMLER</a><a href="https://us.list-manage.com/9GQShbV1okE?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">Christopher A. KLEIN</a><a href="https://us.list-manage.com/tV6yeSusOeL?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">William KRUG</a><a href="https://us.list-manage.com/WY4AdT3q07F?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">Josephine LALLY</a><a href="https://us.list-manage.com/gc1f9BogI3A?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">Peter LUPKIN</a><a href="https://us.list-manage.com/LjcHUNKbOHq?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">Helen OH</a><a href="https://us.list-manage.com/RzNh02U5M0W?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">Rick PAS</a><a href="https://us.list-manage.com/hOAQoCD2dLd?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">Kirill POLEVOY</a><a href="https://us.list-manage.com/5u3waz24_No?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">Don POLLACK</a><a href="https://us.list-manage.com/YUcOBd8ket2?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">Carol PYLANT</a><a href="https://us.list-manage.com/e4kjBb4PZNZ?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">John RUSH</a><a href="https://us.list-manage.com/2bauHYSCScE?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">Dave STEVENSON</a><a href="https://us.list-manage.com/1W9fmY9J1uG?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">Carol STEWART</a><a href="https://us.list-manage.com/WLTI1PyzI_u?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">Bruno SURDO</a>Gallery VICTOR is thrilled to include artist Josephine Lally in Creature Feature. Josephine is a recent graduate of The School of the Art Institute of Chicago. Her aerial sculpture, titled Rough Play, a suspended flock of birds, brings dramatic motion to the gallery as the birds appear caught mid-flight, hovering between weight and movement, fragility and force. This cinematic work is not to be missed!﻿

Creature Feature

PATRON presents&nbsp;Let's Go Exploring!, a two-person exhibition by Chicago-based artists Gregory Bae and Tony Lewis. As studio-mates, colleagues, and peers, Bae and Lewis’s individual practices define&nbsp;an active, critical engagement with the world around us with a soulful awareness of being present–as individuals and in relation. Re-tracing various forms of collaboration and exchange,&nbsp;Let’s Go Exploring!&nbsp;posits friendship as one of the most underrated tools in any artist’s practice. The exhibition premieres a grouping of never - before exhibited works by both artists—tracing and expanding from Bae’s and Lewis’s 16-year friendship forged during their cohort at the School of the Art Institute of Chicago.&nbsp;This exchange is introduced in the form of a salon-style installation of sketches, drawings, paintings, and ephemera from both artist’s studios. Constructed from a process of revisiting Bae’s archive, largely housed at Lewis’s studio for the past five years, the installation collapses time through references to both unrealized and realized future works, indirect to incomplete thoughts, sketches, and unfinished conversations. A partial visual representation of the artists’ diverse interests, the installation introduces shared cultural connections, including Bill Watterson’s&nbsp;Calvin and Hobbes&nbsp;comic strips, a childhood favorite of both Bae and Lewis, but also a material resonant in Lewis’s practice since 2013. Here, the dynamic impulse of the last comic strip catalyzes an active return to two practices, inspired by the artists’ shared, persistent attempts to grasp the gaps of understanding and connection created by time.&nbsp;Time, as material and process appears in Bae’s&nbsp;24-7, 365 (sketch)&nbsp;(2017), a series of paintings on used car tires. Originally part of a kinetic sculpture,&nbsp;24-7, 365&nbsp;(2014) in which a tire endlessly turns on a treadmill at a rate that would travel the world's circumference in a year. Installed on the wall, Bae’s tire series reveals his experimental, assemblage-based approach to painting, shaped through continual testing with nontraditional materials drawn from the American import industry. Car tires, laptop screens, and found paper transition from everyday remnants to painted surfaces, carrying the history of their use along with them.&nbsp;

Gregory Bae and Tony Lewis: Let's Go Exploring!

Elise Seigenthaler Gallery is pleased to present “The Soccer Show: A Celebration of the World Cup”, a group exhibition bringing together eight artists whose work explores the passion, politics, and cultural power of the world’s most followed sport. On view from June 12 through August 22, 2026, the exhibition opens in the spirit of World Cup season, a global moment of collective attention and anticipation as billions of viewers turn toward the game.The exhibition features new and recent work by Gabrielle Bianco, Chris Cosnowski, Adehle Daley, Modou Dieng Yacine, Aaron Eskridge, Sébastien Johnson, Duncan McGillivray-Smith, and Ed Oh. Working across diverse practices and perspective, these artists approach soccer as both a subject and a lens.From the roar of the stadium to the intimacy of a neighborhood pickup game, from the elation of a last-minute goal to the weight of systemic inequalities within the sport’s governing bodies, the works on view capture what makes soccer so enduringly powerful: its ability to contain multitudes. “The Soccer Show” invites visitors to engage with the game not only as spectators, but as witnesses to something larger: a cultural language that is ritual, entertainment, and social force folded into a game.

The Soccer Show: A Celebration of the World Cup

David Hockney: The Moon RoomGRAY Chicago, West GalleryJul 10 - Aug 22, 2026 Once, when we were just sitting outside the house, we put all the lights off in the house to see the moonlight more clearly. The moon could then be seen to cast shadows of the trees on the grass, so with my backlit iPad I could draw it. This would have been virtually impossible without it. — David Hockney In the spring of 2020, David Hockney was inspired by the sight of an unusually large moon—a supermoon, occurring when the moon is closest to Earth. Recalling the moment, the artist reflected on the challenge of capturing the experience through photography, emphasizing drawing’s unique ability to convey the intensity of perception: “I was looking at the moon for quite a while, and when you do that, you see this halo around it that you don't see in photographs at all because it's too far. That's an example of the way lenses push things away. In a lens view, it would be disappointingly small... My niece said that she tried to photograph a big moon, and I said, 'Well, no, you have to draw it, like the sunrise. It can't be photographed because it is the source of light.'” 1 GRAY announces David Hockney: The Moon Room opening in the gallery’s Chicago location on July 10, 2026. The exhibition centers on a recently released series focused on the artist’s observations of the moon. Created in 2020 at his Normandy studio in France, Hockney used his iPad to make daily paintings of the surrounding landscape, working en plein air to capture the changing seasons as illuminated by moonlight. Hockney turned to the iPad for its immediacy and responsiveness, a medium that bridges the disciplines of painting and drawing while accommodating the spontaneity of working outdoors, especially in the dark. The exhibition will remain on view through August 22, 2026. This is Hockney’s sixteenth exhibition with GRAY. Throughout his career, Hockney has consistently engaged with new technologies, particularly those designed for widespread use and accessibility. From his early experiments with Polaroid cameras, photocopiers, and fax machines to his pioneering use of digital tools such as the Macintosh computer and Photoshop, his practice has continually evolved alongside technological innovation. Since 2009, the iPhone and iPad have become central to his work, enabling an expansive body of digital drawings and paintings. Introduced in 2010, the iPad, in particular, afforded the artist greater scale and precision, while its playback function reveals the temporal unfolding of each composition, offering insight into the process of its making. The Moon Room was first presented by Florence Calame-Levert in David Hockney: Normandism, presented from March 3 through September 22, 2024, at the Musée des Beaux-Arts de Rouen in Normandy, France. ABOUT DAVID HOCKNEYDavid Hockney (1937–2026, Bradford, West Yorkshire, UK) is considered one of the most influential and defining figures in contemporary art. His seven-decade career and prolific oeuvre is characterized by formal invention, an intellectual inquiry into the nature of depiction and perspective, and a sustained commitment to celebrating and portraying the world around him. Image: DAVID HOCKNEY (1937–2026)31st October 2020, No. 4, 2020iPad painting printed on paper, mounted on Dibond27 1⁄8 × 39 1⁄8 inches68.9 × 99.4 cmEdition of 15 All Images: © David Hockney. Courtesy GRAY Chicago/New York

David Hockney: The Moon Room

GRAY Chicago | 2044 W Carroll AveGRAY is pleased to announce&nbsp;IT’S ABOUT TIME: Counterproductive Conceptualisms in Chicago, an exhibition that traces the contours of a newly emerging conceptual art ethos among younger generations of Chicago-based or -trained artists.Organized by DRAW, the curatorial duo composed of Dieter Roelstraete and Abigail Winograd, the exhibition brings together a group&nbsp;of artists who prefer taking their time, and who often use “time” itself as one of their subjects. Shaped to a discernible degree by the local legacies of artists like Iñigo Manglano-Ovalle and Pope.L, this distinctly contrarian strand of conceptualism in Chicago seeks to restore the social magic of both art and the artist’s life.&nbsp;The artists include Alex Chitty, Shir Ende, Max Guy, Jinn Bronwen Lee, Dave Lloyd, Iñigo Manglano-Ovalle, Devin T. Mays, Pope.L, Nick Raffel, and Miao Wang.While maintaining disparate practices, these artists share a spirit of studied nonchalance: what might be described as a “Midwestern” alternative to the demands of artistic production as a rat race.IT'S ABOUT TIME&nbsp;will open on July 10 with a public reception from 3-8 PM, with artist activations. Remarks at 5pm.<a href="https://ennouncement.exhibit-e.com/t/y-l-audiykl-sykijfhl-t/" rel="noopener noreferrer" target="_blank">Learn More</a> Image: Iñigo Manglano Ovalle,&nbsp;Untitled sawhorse free of metaphor (after Bas Jan Ader), 2025.

IT’S ABOUT TIME: Counterproductive Conceptualisms in Chicago

We're thrilled to share our&nbsp;first exhibition in partnership with&nbsp;<a href="https://links.joymachine.art/tj/cl/eyJ2Ijoie1wiYVwiOjIzNjc5MyxcImxcIjoxOTEyNjk1MzgzMDg4MTg2NDEsXCJyXCI6MTkxMjY5NTUyNTkwNDIzMjcxfSIsInMiOiIwMWJjNjUxNjlkMjc5NjI2In0" rel="noopener noreferrer" target="_blank">Vertical Gallery</a>:&nbsp;Wanderland,&nbsp;featuring all new works&nbsp;by Dutch artist&nbsp;Collin van der Sluijs. Opening on July 10, this exhibition marks the artist’s sixth solo presentation in Chicago and more than ten years of working&nbsp;with Vertical. We're honored to be part of the collaboration.Wanderland&nbsp;comprises a new body of work developed during a two-year period. Spanning enormous mixed-media paintings, intimate drawings, and skate decks bearing the artist’s signature birds, the exhibition reflects both the momentous and mundane, particularly loss, grief, and the therapeutic powers of nature.The opening also coincides with the publication of&nbsp;Wanderland: 1991-2026,&nbsp;a beautiful 180-page hardcover career retrospective spotlighting van der Sluijs' achievements as a painter, muralist and graffiti writer.You can&nbsp;<a href="https://links.joymachine.art/tj/cl/eyJ2Ijoie1wiYVwiOjIzNjc5MyxcImxcIjoxOTEyNjk1MzgzMjE0MDE1NTcsXCJyXCI6MTkxMjY5NTUyNTkwNDIzMjcxfSIsInMiOiJmYWFhMmYxZDYzNTQ1MTNhIn0" rel="noopener noreferrer" target="_blank">pre-order it here</a>.Join us&nbsp;for&nbsp;<a href="https://links.joymachine.art/tj/cl/eyJ2Ijoie1wiYVwiOjIzNjc5MyxcImxcIjoxOTEyNjk1MzgzMzUwMzMwNDgsXCJyXCI6MTkxMjY5NTUyNTkwNDIzMjcxfSIsInMiOiI5NzNkYWY1NGViNDk3ODdlIn0" rel="noopener noreferrer" target="_blank">an opening reception</a>&nbsp;from 6 to 8 p.m. on July 10. Van der Sluijs will be present.<a href="https://links.joymachine.art/tj/cl/eyJ2Ijoie1wiYVwiOjIzNjc5MyxcImxcIjoxOTEyNjk1MzgzNDg2NjQ1NDIsXCJyXCI6MTkxMjY5NTUyNTkwNDIzMjcxfSIsInMiOiJiMzkzMDQ0YWUxNmU4OWYyIn0" rel="noopener noreferrer" target="_blank">RSVP to the opening</a><a href="https://links.joymachine.art/tj/cl/eyJ2Ijoie1wiYVwiOjIzNjc5MyxcImxcIjoxOTEyNjk1MzgzNjQzOTMxODgsXCJyXCI6MTkxMjY5NTUyNTkwNDIzMjcxfSIsInMiOiJmOTA0NDY5NmM0MDFhYjljIn0" rel="noopener noreferrer" target="_blank">Join collector preview</a>

Collin van der Sluijs: Wonderland

Painters' Painters is a curated summer exhibition featuring artists whose work is held in high esteem within the discourse of contemporary painting. This exhibition unites artists not by subject matter or an overarching idea, but by medium — presenting an opportunity to witness a sustained commitment to the act of painting itself, championing fluency and fidelity. By removing the context of a singular curatorial thesis, the works presented tell a story about the enduring relationship between artists and to the ever-evolving language of painting itself. The resulting dialogue creates a dynamic synthesis between how art is made, for whom it is made, and why. The twelve artists in&nbsp;Painters' Painters&nbsp;were selected by the gallery as exemplars of what we most admire in this medium. Just as importantly, they are artists who admire one another's work. While the idea of a “painter's painter" is inherently subjective - and at times polarizing - the defining quality shared by these artists is an intuitive command of the medium. Their work reflects not only technical fluency, but also an artistic sensibility that gives each painting a distinct presence and unmistakable authenticity. Embedded within the exhibition is the often private ecology of influence that defines artistic practice. Painters look relentlessly at other painters: studying decisions, testing assumptions, tracing formal problems across generations, and discovering unexpected solutions. Admiration and competition, affinity and resistance, coexist within this process. Looking becomes a form of research as much as a catalyst for invention, situating each new painting within an ongoing conversation that is at once historical and contemporary. The works in&nbsp;Painters' Painters&nbsp;span a broad range of subjects, ideas, and methodologies, reflecting the expansive terrain of painting today.&nbsp;Photorealist works appear alongside landscapes, still lifes, abstractions, and narrative paintings, demonstrating that the language of painting is neither singular nor stable, but continually recalibrated through material decisions, perceptual experience, and individual vision. Together, these works offer a rich visual vocabulary through which to consider not only painting's capacity to communicate, but also the many ways artists employ its formal language to encode meaning and invite interpretation. This is an occasion to consider painting not as a unified position, but as a plurality of practices that remain deeply invested in the possibilities of the medium. Throughout the exhibition, we will be taking a closer look into each artists studio practice and exploring their inspirations, frustrations, aesthetic philosophies and the artists they consider "painters' painters." These conversations will be published on our website, culminating in a full-color exhibition catalogue to be released later this summer. Image: Dana DeGiulio, A structure to pour into that wields nothing, 2023. Oil on MDF, 16 x 12 inches Artists include:&nbsp;Sam Bornstein&nbsp;(New York)Nik Cho&nbsp;(Chicago)Tavin Davis&nbsp;(Chicago)Rob Davis&nbsp;(New York)Dana DeGulio&nbsp;(New York)Kevin Ford&nbsp;(Conneticut)Dana Frankfort&nbsp;(Houston)April Gornik&nbsp;(New York)Jeffly Gabriela&nbsp;Molina&nbsp;(Chicago)Richard Tinkler&nbsp;(New York)Emma White&nbsp;(Toronto)Kevin Wolff&nbsp;(Chicago)

Painters' Painters

In his first exhibition at EAM, visual artist Jeremiah Hulsebos-Spofford presents a series of outdoor sculptures in Wilder Park (on view starting April 18) as well as an immersive installation within the iconic McCormick House. Bridging handcrafted techniques and digital fabrication, featured works serve as a low-carbon alternative to traditional monumental sculpture as a way of reflecting on labor, materiality, the internet age, and architectural legacies. Curated by&nbsp;Allison Peters Quinn, EAM Executive Director and Chief Curator,&nbsp;Near Immortality&nbsp;features&nbsp;new sculptures inside the McCormick House&nbsp;created from 3D scans of important design items in EAM’s collection, including Mies’ Barcelona Chair and a leg splint designed by Charles &amp; Ray Eames.&nbsp;Hulsebos-Spofford is a sculptor and assistant professor of sculpture at Indiana University Northwest. He is also a co-director and founder of the collective Floating Museum, and co-curator of the 2023 Chicago Architecture Biennial. Through his large plaster and silicon sculptures, he reinterprets modern monuments and classical sculptures as glitched assemblages. Although many of his works evoke ancient art history, Hulsebos-Spofford’s pieces are rooted in modernist aesthetics and its relevance in the everyday experience.&nbsp;

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