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

ESSENCE&nbsp;witnessed by clouds&nbsp; Eight black artists. Seven men, one woman. Seven Nigerian, one American. Through spirit, story, emotion, nature, and culture, ESSENCE reflects the truth that every human being carries within them a light that gives life value, direction, and meaning, and gives voice to the desire to leave something meaningful behind. Opening Reception: February 21, 2026, 5-9 PM ShadowBoxX Gallery, 116 Washington St, Waukegan IL Zoom Collectors Preview/Artist Talk: Friday February 20, 9 AM

Essence

In commemoration of PATRON’s 10th anniversary, we are proud to announce a group exhibition, a person chosen, named, or honored… titled after the Webster’s Dictionary definition of a “patron.” On view from January 24 through March 7, 2026, the exhibition celebrates the collector/artist/gallery relationships which have been formative for the growth and prosperity of the gallery, and reflective of the strength and vibrancy of the Chicago arts community at large. Uniting nearly one hundred key artworks acquired from PATRON over the past ten years, the exhibition is intended to acknowledge the growth of individual artist’s practices, and act as a time capsule of the exhibitions, projects, and conversations that marked the last decade. a person chosen, named, or honored… celebrates the individuals, and networks of Chicago that have shaped our history, our present, and our future.

a person chosen, named, or honored...

Jackson Junge Gallery is starting off their 2026 season with&nbsp;I’M FINE, a solo exhibition featuring 14 paintings by in-house artist, Sam Arnold.&nbsp;I’M FINE&nbsp;is an introspective art exhibition reflecting on the unique intersection of health and creative expression. The show is a documentation of Arnold’s health journey, exploring whether her artwork reflects the intensity of what she’s going through, or if she’s simply become really good at masking pain. Most people don’t realize Arnold’s work is deeply personal—they just see “happy paintings.” But each one is her way of escaping, of traveling when she physically can’t.&nbsp;I’M FINE&nbsp;offers a window into the evolving landscape of Arnolds’s internal and external world.<a rel="noopener noreferrer" href="https://oh4nipbab.cc.rs6.net/tn.jsp?f=001MdeqxSD7AhgGMdktnwgKJPU-3V_0ViuYEk-SzxrfkajRROBC20V3ontPTyx0ok9mVgDH5bPvF32O2VgqEbyP8D13gnrNxGHKNdu8Q7yN3nwubnI3ZZ9QNSvuvzxfL8lLw_GiSBOtfWqj0TDW7l-FeJfIbSi2339AJB2y-N_exhk=&amp;c=D18LkDeXhS-Hwtppn61l8orMZ4WQuLRgmjvo_vIAwX9jITqNv3kMEQ==&amp;ch=D3sVuegGAaBng0ApsfdabTWRauvxwWpyTmcZ_NBY5EzclnmQznMQDg==" target="_blank">Viewers of Sam Arnold’s bright work may be surprised to learn that the artist’s life has been chronic pain and PTSD for 14 years. For Arnold, illness is a full-time job - juggling appointments, insurance, treatment research, and just getting through the day. She reports having 220 doctors appointments last year and taking 28 pills a day. There’s always been a contrast between Arnold’s bright and colorful artwork, and the dark things going on. Previously, she has let people form their own ideas about her art without revealing this. But this is Arnold’s life. She makes decisions every day regarding how illness impacts her, that most people don’t have to think about. For years, she has wanted to challenge herself to be more open and vulnerable and to make her pain more obvious in her work instead of masking and saying “I’m Fine”.</a><a rel="noopener noreferrer" href="https://oh4nipbab.cc.rs6.net/tn.jsp?f=001MdeqxSD7AhgGMdktnwgKJPU-3V_0ViuYEk-SzxrfkajRROBC20V3ontPTyx0ok9mVgDH5bPvF32O2VgqEbyP8D13gnrNxGHKNdu8Q7yN3nwubnI3ZZ9QNSvuvzxfL8lLw_GiSBOtfWqj0TDW7l-FeJfIbSi2339AJB2y-N_exhk=&amp;c=D18LkDeXhS-Hwtppn61l8orMZ4WQuLRgmjvo_vIAwX9jITqNv3kMEQ==&amp;ch=D3sVuegGAaBng0ApsfdabTWRauvxwWpyTmcZ_NBY5EzclnmQznMQDg==" target="_blank">September 2024 presented a unique opportunity for Arnold. The prospect of starting a new pain management treatment inspired the artist to record her upcoming medical journey through painting.&nbsp;</a>I’M FINE&nbsp;is a journal of Arnold’s year, each painting a monthly entry. The first, “September 2024”, pictures a bright blue and green coastal landscape, representative of Arnold’s optimism before starting a new treatment that her quality of life would improve. Unfortunately, Arnold would undergo an extremely adverse reaction and be forced to change her plans. Going from one treatment to another is no unfamiliar experience for someone with chronic illness. Arnold thus decided it was natural to continue documenting her experiences. “November 2024” saw experimentation with another failed treatment plan reflected in the month’s painting. A bold landscape with golden yellow fields speckled by green trees and a cool blue river running through. Intense pink lines break up the river, literal illustrations of pain running through Arnold’s body. Six months of surgery followed.Sam Arnold would spend most of the past year focusing on both her physical and mental health while creating art about it - chronicling multiple procedures, surgeries, med changes, and weekly sessions with both a therapist and psychologist. Arnold wanted to work true to her changing feelings through the year. Every month she would put away her other paintings, so they didn’t influence each other. “February 2025” sees a stark evolution to an abstract style different from the more representational works of the previous 5 months, which becomes even more jarring in “March 2025”, a green painting streaked with aggressive yellow and red smears which Arnold explains as a manifestation of her anger this month towards her increasing medical issues. March is the only painting missing Arnold’s meticulous black outlining iconic to her work. Arnold shared how difficult it was not to return to the painting and “finish” it with her outline, but she resisted to stay true to March’s emotions.Pain is a common theme for Sam Arnold living with chronic illness, and extensively represented in her work the past year. Grief is another type of pain that Arnold sadly portrays, experiencing the loss of two family members in January and July. Amongst all the vulnerability Arnold shows in&nbsp;I’M FINE, she’s described the paintings from these two months as being the most deeply personal. “January 2025” paints an aerial map of the broken bridge between Florida and Sanibel Island in intense shades of teal and navy. A devastating hurricane destroyed the bridge and Arnold’s family property on the island. The visual of the broken bridge represents Arnold’s inability to visit the place most cherished by her lost family member, keeping her from them, and symbolic of the pain of their passing.Another unique aspect of&nbsp;I’M FINE&nbsp;is the participation of the artist’s therapist, who has agreed to write a few phrases describing the artist’s mental state after sessions from September 2024 to September 2025. Arnold has not seen these notes, but they will be revealed at the opening of her exhibition, which she has said is “terrifying and vulnerable, but also feels incredibly important.”&nbsp;I’M FINE&nbsp;has been an experiment to see if Arnold’s paintings reflect what she has going on, or if she has continued to mask her pain within her bright work. Arnold has found some pieces more outwardly reflective of her pain than usual, especially those with decaying figures like the decomposing Elmo plushie being overtaken by leaves in “December 2024” or the degraded baby doll in “June 2025”. However, other pieces still feel like they conceal Arnold’s pain such as the finale, “September 2025”. She imagined the last piece as being a joyful conclusion to a year of successful treatments, but instead Arnold frustratingly feels she is in the same place she was a year ago. So even if the colorful landscape of September does feel joyful, it is only because Arnold has returned to masking pain in her art. Creating&nbsp;I’M FINE&nbsp;may not have been as cathartic as Arnold hoped, in fact it was hard and uncomfortable, but she still believes that hard things are worth trying.Arnold hopes that her artwork will contribute to the conversation on mental health. From her art, you may discover that you don’t always know what is going on in people’s lives. People may not outwardly admit to their feelings, even an honest person like Arnold unintentionally hides her pain in her upbeat demeanor. View her meaningful exhibition,&nbsp;I’M FINE, at Jackson Junge Gallery January 12th&nbsp;– March 1st, 2026. The gallery will be holding the exhibition’s opening reception on Friday, January 16th, from 6pm - 9pm, free and open to the public. It is curated by Owner Chris Jackson, Gallery Director Kaitlyn Miller and Assistant Gallery Director Kristen Arcus.

I'm Fine

The Newberry’s physical collection is vast, containing over 1.6 million books, 600,000 maps, 1,300 unique archival collections, and much more. Altogether, this material fills over 27.5 miles of shelving.In the mid-1990s, prompted by the rise of the internet, new imaging technology, and increasing demand, the Newberry began to digitize its material. While this work initially supported specific publications and exhibitions, the benefits quickly expanded. Now, digitization is central to our mission, making a significant and ever-growing portion of our holdings accessible to scholars globally, fostering new types of research, and engaging a broader public.This exhibit offers a snapshot of our&nbsp;<a rel="noopener noreferrer" href="https://collections.newberry.org/" target="_blank">digital collection</a>, showcasing some of our most popular educational and interactive digital resources.<a rel="noopener noreferrer" href="https://www.newberry.org/calendar/from-page-to-pixel" target="_blank">Details</a><h3> </h3>

From Page to Pixel: Discovering the Digital Newberry

This juried exhibition features students working at all levels of experience, who have studied at CMS from 2005 - present.&nbsp;This exhibition showcases the variety of approaches to contemporary mosaic works from local, nation and international artists and reflects the expertise of our dedicated faculty and staff that have made The Chicago Mosaic School the premier center for Mosaic Arts Education in the United States.&nbsp;Through classes, workshops and Visiting Artist Seminars, these artists have utilized exemplary conceptual and technical excellence in varied approaches and materials. We are proud to encourage our students to explore their artistic voices and discover their potential through the medium of mosaic.

Class Act, 2026

Taekyeom Lee: Designed, Printed &amp; Fired will showcase the artist’s innovative practice, which exists at the intersection of 3D printing technology and traditional ceramic making. Taekyeom’s research and creative practice focus on making graphic design a more inclusive, multisensory, and interactive experience, challenging conventional views of design as a flat, vision-centered, screen- or paper-based medium. The artist blends ceramics and graphic design using a variety of materials, offering opportunities for both visual and physical exploration. Designed, Printed &amp; Fired will illuminate Taekyeom’s process of creating printed and tactile imagery on textured surfaces across various media, while considering themes of culture, identity, and memory.The exhibition contrasts cutting-edge technology with hands-on craftsmanship, questioning whether the collaboration between human creativity and technology truly negates the concept of “man-made.” Through hands-on experiences, Taekyeom invites visitors to engage with the tactile and spatial nature of his designs. In doing so, Printed &amp; Fired challenges viewers to rethink the sensory and material aspects of design and the new forms that can emerge to create more accessible and engaging experiences for all.Born and raised in South Korea, Taekyeom became interested in design through a combination of technical curiosity and creative experimentation. Taekyeom’s curiosity, combined with a personal health challenge that altered his perception of design and its functionality, has profoundly shaped his work. An internationally recognized interdisciplinary designer, researcher, and educator, Taekyeom is currently an Associate Professor of Graphic Design at Indiana University Bloomington. He earned an M.F.A. in Graphic Design from the University of Illinois at Urbana-Champaign and a bachelor’s degree from Keimyung University in South Korea. His research explores unconventional materials and alternative solutions to create tangible typography, graphics, and designed objects through digital fabrication. Taekyeom’s practice promotes a multisensory and accessible understanding of graphic design, aiming to make the field more inclusive, material, interactive, and playful.<a rel="noopener noreferrer" href="https://www.kiarts.org/events/tag/taekyeom/" target="_blank">Click here to view events in connection with this exhibition.</a>

Taekyeom Lee: Designed, Printed & Fired

RECEPTION AND GALLERY TALK: FEBRUARY 19, 7PMCelebrate Women Artists at the Field with Rebecca Banasiak, Peggy Macnamara, and Adrienne Stroup, whose work bridges art and science in bold, imaginative ways. Inspired by the museum’s collections and mission to connect all of us to the natural world, their creations reveal the beauty of discovery and the power of visual storytelling. Join this visionary collective during Women’s History Month, February–March 2026, in celebration of STEAM and creativity.

Women Artists in the Field

Antonius-Tín&nbsp;Bui&nbsp;(they/them) is a multidisciplinary artist whose work traverses the realms of hand-cut paper, community engagement, performance, and soft sculpture to visualize hybrid identities or histories that confront the unsettling present. Bui’s hybridized identity as a queer, genderfluid, and Vietnamese American informs the way they employ beauty as a refuge for fellow marginalized communities. Their intensive paper-cutting process is exceptionally meditative; each sheet of paper&nbsp;represents&nbsp;an archive of memories and oral histories, mirroring the intergenerational trauma that so many refugee communities are faced with. Through their rigorous and reductive process, they deconstruct the white canvas, metaphorically carving out space for the narratives that are so often omitted from recognized histories.&nbsp; Bui (b.1992, Bronx, NY) received their BFA from Maryland Institute College of Art, Baltimore, MD. Bui has had recent solo exhibitions at&nbsp;Various Small Fires, Dallas, TX (2024);&nbsp;moniquemeloche,&nbsp;Chicago, IL (2023);&nbsp;Hudson D. Walker Gallery, Provincetown, MA (2020);&nbsp;Laband&nbsp;Art Gallery, LMU, Los Angeles, CA (2019); Lawndale Art Center, Houston, TX (2018).&nbsp;Bui’s work has been presented in group exhibitions at&nbsp;the&nbsp;National Portrait Gallery, Washington D.C.;&nbsp;Portland State University, OR; The Frances Young Tang Teaching Museum and Art Gallery, Saratoga Springs, NY; Weatherspoon Art Museum, Greensboro, NC; Orange County Center for Contemporary Art, Sacramento, CA; Picker Art Gallery,&nbsp;Colgate University,&nbsp;Hamilton, NY;&nbsp;the&nbsp;McNay Art Museum, San Antonio, TX; Elizabeth Foundation for the Arts, New York, NY; USC Pacific Asia Museum, Pasadena, CA; Houston Center for Contemporary Craft, Houston, TX; Blaffer Contemporary Arts Museum, Houston, TX; among others. Bui will present a solo exhibition at&nbsp;moniquemeloche&nbsp;in 2026.&nbsp; Public collections include the&nbsp;Mint Museum, Charlotte, NC;&nbsp;University of Michigan Museum of Art, Ann Arbor, MI; New York Historical Society, New York, NY;&nbsp;BMO Harris Bank Corporate Art Collection, Chicago, IL; Bank of America Art Program, Newark, DE; JP Morgan Chase Art Collection, New York, NY;&nbsp;Jordan Schnitzer Family Foundation, Portland, OR; Eaton Workshop, Washington D.C.; Arkansas Museum of Fine Arts, Little Rock, AR; Wesley Theological Seminary, Washington D.C.; and the Pennsylvania College of Art &amp; Design, Lancaster, PA.&nbsp;They are a recipient of The&nbsp;Outwin&nbsp;Boochever&nbsp;Prize (2021) and MICA Alumni Grant (2018). Bui is a fellow of the 2022&nbsp;Queer|Art|Mentorship&nbsp;program, and has received additional fellowships from MASS MoCA&nbsp;(2025);&nbsp;Golden Foundation, New Berlin, NY (2024);&nbsp;James Castle House, Boise, ID (2022); Kimmel Nelson Center for the Arts, Nebraska City, NE (2022); Fine Arts Work Center, Provincetown, MA (2019); Yaddo, Saratoga Springs, NY (2024,&nbsp;2019); The Growlery, San Francisco, CA (2019); and Houston Center for Contemporary Craft, Houston, TX (2018). Bui lives and works in&nbsp;Chicago, IL.&nbsp;&nbsp;

Antonius-Tín Bui: here, there is a different kind of sun

While some institutions limit collection holdings to one or two pieces per artist, RAM is often interested in representing a career through multiple examples. Those whose works are collected in depth are referred to as “archive artists.” While the number of pieces needed to achieve this status is medium-specific, these holdings might also include things like personal records, sketchbooks, or studies made in preparation for a larger work.From The Archives&nbsp;showcases eight Wisconsin-based artists with recently established archives at RAM—Jerrold Belland, Lisa Englander, Caren Heft, Alex Mandli, Michael Nitsch, Bill Reid, Susan M. Sorenson, and Marc Wollman—each of whom have long-standing and impactful connections to RAM and Wustum. They are former staff members and RAMA Board members, regular juried exhibition participants, Artist Fellowship Award recipients, and longtime supporters of the Museum. Featuring a mixture of existing collection holdings and recent acquisitions, this exhibition offers a glimpse into the careers of these eight artists who have helped make RAM what it is todayArtists in the ExhibitionJerrold Belland, Lisa Englander, Caren Heft, Alex Mandli, Michael Nitsch, Bill Reid, Susan M. Sorenson, and Marc Wollman

From the Archives: Recently Established Artist Archives at RAM

Joy Machine is thrilled to present World in My Eyes, a duo exhibition of Chicago artists Kayla Mahaffey and Joseph Perez, a.k.a. Sentrock. An opening reception will be held from 6 to 9 p.m. on January 30. World in My Eyes is, first and foremost, rooted in the lives of everyday people. Both Sentrock and Mahaffey have long depicted friends and neighbors in their own Chicago neighborhoods, exploring how our city shapes its youngest residents. How are children cared for? How are their imaginations and dreams nurtured? These questions recur throughout both artists’ practices and always hinge on another: how do children thrive amid turmoil, whether political, cultural, or personal? In World in My Eyes, Sentrock’s signature bird character meets Mahaffey’s energetic cast. Each artist confronts an underlying struggle–whether an unrealized dream or a physical need–not through an unrealistic swaddle of optimism but rather through the often-repeated idea that hope is a practice. For children, and for all of us seeking a better tomorrow, hope starts with courage.

World in My Eyes

To celebrate the gallery's one year anniversary, Sawhorse's walls will be covered in shelves and the shelves will hold objects by 121 artists. Exhibited artists include: Aaron Nemec, Abigail Buzbee, Abraham Cone, Ada Hamilton, Adehle Daley, Alex Adkinson, Alex Freundlich, Allegra Harvard, Amy Vogel, An Emard, Annabelle Dunstan, Ari Norris, Avery Booth, Bella Carlos, Ben Holmes, Ben Stevens, bex ya yolk, Bridget Conway, Bridget Hamel, Catherine Jacobi, Claire Adams, Claire Bentley, Claire, Helen Ashely, CM Clemente, Corrine Slade, Daniel Baird, Daniel Champion, Daniel Epstein, Danny Wieder, Deb Sokolow, Dolan Bailey, Elena Ailes, Ellie Kreischer, Em Davenport, Emily Harter, Emma Rossoff, Emma Xhaxho, Emmy Brady, Eric Wilson, Ethan Chan, Eva Sturm-Gross, Forrest Frederick, Gabriel Moreno, Grace Requejo, Hannah Tishkoff, Harleigh Shaw, Harrison Wyrick, Henry Gross, Jane Leipold, Jeff Charles, Jenny Collins, Jess Bass, Jesse Bond, John Himmelfarb, Jon Gott, Josephine Dorsey-Lauck, Julia Daniel, Julia Marks, Justin D'Acci, Kamilah Davila, Kate Hefferan, kg, Kishino Takagishi, Laura Davis, Lauren Lauer, Laveen Gammie, Liam Owings, Lily Szymanski, Lucie Scanlon, Maddie Gournay, Madeleine Aguilar, Madeleine Leplae, Madeline Gallucci, Magdalena Saliba, magicfeiei, Marissa Macias, Micah Dillman, Michelle Grabner, Mikey Mosher, Montana Russell, Natalie Toth , Nate Millstein, Neiva Mulhern, Nell McKeon, Nick D'Alessandro, Nico Ramirez Rosas, Nina Harold, Oli Watt, Olivia Mae Clanton, Olivia Martin, olivier, Paula McLean, Payton Kaeding, Pedro Albertini, Phyllis Bramson, Rachel Yanku, Rebekka Federle, Riley Duncan, Rob Sohmer, Sammie Anselmo, Samuel Schwindt, Sarah Bastacky, Sarah Braman, Sarah Diab, Sascha Huth, Sasha Miasnikova, Tulane Eichhorn, Shama Kipfer-Tessler, Sharmarke Ahmed, Tatiana Sky, Tommy John Ballard, Vic Barquin, Viktoria Tomić, Will Krauland, William Harvey, Win Hartlove, Yigit Ural, Zander Raymond, Zolt Brown-Dunn

Shelf Show

The&nbsp;Driehaus Museum&nbsp;is proud to announce&nbsp;Tiffany Lamps: Beyond the Shade,&nbsp;an exhibition illuminating the volume and breadth of Louis C. Tiffany’s vast artistic production. From the 1890s to the 1920s, Tiffany Studios created a captivating range of decorative lighting fixtures that embraced the technological shift from oil lamps to electricity and simultaneously met the styles and tastes of nineteenth and twentieth century consumers. Drawn from the expansive collections of the Museum and the private art collection of Richard H. Driehaus (now in the Art Exhibition Lending Foundation), the exhibition explores how the artisans at Tiffany Studios used a range of materials—including bronze, enamel, pottery, and glass—to bring Tiffany’s innovative lighting designs to life. Organized by guest curator Alexandra M. Ruggiero,&nbsp;Tiffany Lamps: Beyond the Shade&nbsp;will be on view at the Driehaus Museum,&nbsp;50 E. Erie Street&nbsp;from&nbsp;September 12, 2025 to March 15, 2026.&nbsp;Executive Director of the Driehaus Museum&nbsp;Lisa M. Key&nbsp;says, “Many Chicagoans and tourists have seen Tiffany lamps in passing but have not had a chance to encounter them in depth or within a richly contextualized narrative. This is a chance to draw people back to the Driehaus Museum by inviting them to see familiar works in new ways. It is an opportunity for the Museum to highlight a core strength and position as a national leader in the complex storytelling of the Gilded Age and the interpretation of design and decorative arts from this time period. In this case, the exhibition will explore the broader context—from design processes, to materials, labor, and the influence of designers like Clara Driscoll—to reframe the narrative around Tiffany Studios. “Building on past exhibitions such as&nbsp;Eternal Light: The Sacred Stained-Glass Windows of Louis Comfort Tiffany&nbsp;(2019-2020) and&nbsp;Louis Comfort Tiffany: Treasures from the Driehaus Collection&nbsp;(2015),&nbsp;Tiffany: Beyond the Shade&nbsp;expands the narrative of Tiffany lamps beyond their iconic glass shades. Guest curator Alexandra Ruggiero&nbsp;says, “I am thrilled to partner with Driehaus Museum and present the&nbsp;extraordinary range of&nbsp;Louis C. Tiffany’s&nbsp;lighting fixtures&nbsp;with a new perspective. The exhibition features objects that exemplify Tiffany’s remarkable ability to marry innovation and outstanding design, enabling museum visitors a chance to marvel at the materiality and incredible artistry of Tiffany lamps.&nbsp;In addition to presenting a range of lamp types and designs, the exhibition will include a selection of decorative objects produced by Tiffany Studios, such as&nbsp;Favrile&nbsp;glass and pottery vases, enamel and bronze boxes, and a leaded-glass fire screen. The exhibition also includes noteworthy works never before exhibited at the Driehaus Museum, including a table lamp with an enameled base and a monumental bronze and Favrile glass chandelier. Within the setting of the Driehaus Museum, the exhibition contextualizes&nbsp;the significant output of Tiffany Studios and provides visitors with a look at the innovation, design, materiality, and business of Tiffany lamps.Tiffany Lamps: Beyond the Shade&nbsp;deepens the natural partnership between the Driehaus Museum and the Richard H. Driehaus Art Exhibition Lending Foundation. By bringing together works from the Museum’s permanent collection and the Foundation holdings, the Museum can offer a broader, richer, and more nuanced presentation of Tiffany’s legacy—one that exemplifies Richard Driehaus’ belief in the power of beauty to inspire. This support deepens the Museum’s role as a cultural steward of the Richard H. Driehaus collection and extends its ability to tell new stories through exceptional design. ABOUT THE CURATORAlexandra M. Ruggiero is a decorative arts curator specializing in glass and a Consulting Curator at The Neustadt Collection of Tiffany Glass in New York. Ruggiero enjoyed a decade of curatorial experience at The Corning Museum of Glass (CMoG), where she worked on projects and research that spanned the history of glass. From 2019 to 2022, she was Curator of Modern Glass with responsibility for acquisitions, exhibitions, cataloging, and research of the CMoG’s glass collections from 1825–1945. In 2023, she was the Interim Department Head, Curator of Collections &amp; Exhibitions at The Rockwell Museum—A Smithsonian Affiliate in Corning, NY. Ruggiero earned a master’s in the History of Decorative Arts through the Corcoran College of Art + Design and Smithsonian Associates in Washington, D.C. and a bachelor’s degree in Art History from the University of North Carolina at Chapel Hill. She is a member of the Association of Art Museum Curators. ABOUT THE DRIEHAUS MUSEUMThe Driehaus Museum engages and inspires the global community through exploration and ongoing conversations in art, architecture, and design of the late nineteenth and early twentieth centuries. Its permanent collection and temporary exhibitions are presented in an immersive experience within the restored 1883 Nickerson Mansion, and the 1926 Murphy Auditorium. The Museum’s collection reflects and is inspired by the collecting interests, vision, and focus of its founder, the late Richard H. Driehaus. For more information, visit<a rel="noopener noreferrer" href="http://www.driehausmuseum.org/" target="_blank">driehausmuseum.org</a>&nbsp;and connect with the Museum on&nbsp;<a rel="noopener noreferrer" href="https://www.facebook.com/pages/Driehaus-Museum/362867207176025" target="_blank">Facebook</a>, TikTok,&nbsp;and&nbsp;<a rel="noopener noreferrer" href="https://www.instagram.com/driehausmuseum/" target="_blank">Instagram</a>.

Tiffany Lamps: Beyond the Shade

The Evanston Art Center (EAC) is excited to welcome the public to our upcoming exhibition,&nbsp;In Paper &amp; Shadow. The exhibition will be on display from&nbsp;February 21 - March 15, 2026, and will be free and open to the public. Sarah Nguyen is a mixed media artist, working primarily with paper. Storytelling is central to her hand-cut fiber panels and paintings. Her work has appeared in numerous national and international solo and group exhibitions and publications. Her work has been part of exhibitions in museums and festivals, including (but not limited to) Seattle’s Wing Luke Museum of Asian Pacific Experience, the Daum Museum, Pyramid Hill Sculpture Grounds and Museum, the Truman Museum, Cheekwood Estates &amp; Gardens, and Kansas City’s 2018 Open Spaces. She has taken part in a number of artist residencies from around the world as a visiting artist and teacher, including Serbia, Bulgaria, Japan, and France, as well as the United States.

In Paper & Shadow

Choreographic Place is an exhibition program presented by Bridge, premiering at the Evanston Art Center, that explores the evolving relationships between dance, sculpture, movement, written choreography, and civic space through the framework of William Forsythe’s notion of “choreographic objects”. Bridge collective members Michelle Kranicke, David Sundry, and Michael Workman seek to expand the definition to architectural or sculptural forms designed not simply to occupy space, but to shape how bodies move, and behaviors may be regulated within it, how choreography is written and read, and how movement is negotiated collectively in shared environments.

Choreographic Place

Timed with the release of the sequel to last year’s blockbuster film,&nbsp;Wicked,&nbsp;The&nbsp;Land of Oz: Beyond the Page&nbsp;takes visitors back to the original 1939 inspiration. The installation will be on view in two galleries on the Museum’s third floor. Curated by Laura Woolley, a memorabilia expert and consultant known for her appearances on&nbsp;Antiques Roadshow&nbsp;and her work at The Collector’s Lab,&nbsp;Land of Oz: Beyond the Page&nbsp;explores the imaginative artistry required to turn the classic children’s story into a beloved movie. Divided into three sections—Writing, Costume, and Production Design—the installation reveals how designers brought L. Frank Baum’s world to life.Highlights include a replica of Dorothy’s Ruby Red Slippers, an early draft of the script, a prototype of the iconic Flying Monkey costume, a character costume from Emerald City, and a replica of the Cowardly Lion’s Medal of Courage. Visitors will also see an original edition of the&nbsp;Wizard of Oz&nbsp;book, a historic telegram announcing the change from silver to ruby slippers, and a rare illustration of the Emerald City. Families, film lovers, and design enthusiasts alike will find something to spark their imaginations.Land of Oz: Page to Screen&nbsp;deepens the natural partnership between the Driehaus Museum and the Richard H. Driehaus Art Exhibition Lending Foundation. This&nbsp;support&nbsp;cements&nbsp;the&nbsp;Museum’s&nbsp;role&nbsp;as&nbsp;a&nbsp;cultural&nbsp;steward&nbsp;of&nbsp;the&nbsp;Richard&nbsp;H.&nbsp;Driehaus&nbsp;Collectionand&nbsp;extends&nbsp;its&nbsp;ability&nbsp;to&nbsp;tell&nbsp;new&nbsp;stories&nbsp;through&nbsp;exceptional&nbsp;design.&nbsp;According to&nbsp;Cynthia Van Osdol, the President and CEO of the Driehaus Trust Company, “From a young age, the Land of Oz presented a fantasy world for our founder, Richard Driehaus. He found great escape in the purpose and teamwork of its characters, and the Yellow Brick Road held a particularly vivid allure for him. As he expanded his art collection, he acquired texts, costumes, and production design originals from the 1939 film. These included, of course, our pair of Ruby Red Slippers, and a series of brilliant watercolors by Jack Smith Martin which were instrumental in the creation of the film. Equally influential is a spectacular pastel of the Emerald City, with its pair of concentric deco-styled white halos and the white light that radiates from its core. As a champion of late 19th and early 20th century architecture, it's easy to imagine why this piqued Richard's imagination. By sharing these treasures--some for the first time--we hope the public will be equally inspired. "

The Land of Oz: Beyond the Page

<a style="color: rgb(84, 88, 89);" rel="noopener noreferrer" href="https://www.meijergardens.org/plensa/?occurrence=2025-10-24" target="_blank">Jaume Plensa: A New Humanism</a>&nbsp;explores Jaume Plensa’s career-long engagement with themes common to our shared humanity such as dreams, desire, justice and mortality. While Plensa’s oeuvre is marked by diversity in format and media, the human condition remains the primary subject of his art, which traverses the personal and collective, individual and universal. Featuring both monumental and intimate-scaled sculptures and select two-dimensional works that span three decades, this is the first retrospective of this internationally acclaimed artist in the United States. Image: Jaume Plensa.&nbsp;Hortense in Slumberland, 2021. Bronze, Edition of 11. 30 x 22 x 20 cm. Photo: Roberto Ruiz © Plensa Studio Barcelona

Jaume Plensa: A New Humanism

The title of the exhibition is&nbsp;Her Story. The "her" of the title is our daughter, Temma Day Lowly. The title is also a bit of a feminist twist on "history." The&nbsp;Her Story&nbsp;project consists of vertical format black &amp; white paintings, each of which will be accompanied by a text (title + essay, poem, dictionary entry, etc.) written by my partner (and Temma's mother) Sherrie Lowly.&nbsp;Concurrently with paintings of the&nbsp;Her Story&nbsp;project I will be showing a current collaborative project, the&nbsp;Trio Mandorla. This large drawing also depicts Temma, but with her mother Sherrie and caregiver Ellen Herbert). Begun 3 years ago, this project involves a collaborative component wherein people who are interested can draw onto the 2 parts of the drawing that depict quilts. I have exhibited this project previously, and numerous people have joined in the participatory compontent of the piece.

Her Story

The Evanston Art Center (EAC) is excited to welcome the public to&nbsp;Ruth Poor: Beatrice. The exhibition will be on display from February 21 to March 18, 2026, in our Second Floor Atrium Gallery and will be free and open to the public.Beatrice&nbsp;is the culmination of a nearly year-long study and performative execution of "grief-work" as a means to ground oneself amidst the shared loss of environmental sanctity, bodily autonomy, and community from rising authoritarianism, Christo-fascism, and consumerism.&nbsp;Ruth L. Poor, an interdisciplinary artist, embraces an evolving process of creation rooted in research and journaling/sketching as observation. Often implementing or commenting on spiritual/religious practice and ritual as it intersects with the macrocosm of American history and politics, alongside the parallelism of the personal.&nbsp;

Ruth Poor: Beatrice

Amira DiawAva PetersonRebekka FederleOlivia Porter A house is never only a structure. It is a sequence of movements, arrangements, and experiences: arrivals and departures, objects placed then replaced, rooms slowly infused with life through use. Housewarming, Elise Seigenthaler Gallery’s inaugural exhibition, brings together a group of artists whose works consider the domesticity as a site of memory, projection, and emotional investigation.&nbsp;Throughout the history of art, interiors have offered a framework for thinking through personal environments and the quiet pressures of everyday life. Neither purely private nor entirely fixed, the home emerges as a place shaped by negotiation: between self and other, permanence and impermanence, outside and inside, care and neglect. The works in&nbsp;Housewarming&nbsp;engage with these tensions, approaching domestic space not as a static backdrop but as an active and evolving habitat.&nbsp;Across painting, beaded work, and sculpture, familiar elements of the home are loosened from their functional and traditional roles. Ornate decor dissolves into shimmering strokes of abstraction, rooms register absence as much as occupation, and wooden objects become affective substitutes for pets. The components and meaning of an interior are revealed as something constructed, vulnerable, and deeply entangled with personal and cultural histories.&nbsp;As the gallery’s first exhibition,&nbsp;Housewarming&nbsp;reflects a moment of arrival. The exhibition extends its attention inward and treats the gallery itself as a space in the process of becoming. The works gathered in this show trace their own paths through memory, material, and imagination, offering the gallery as a provisional interior, newly occupied and still taking shape. Amira Diaw&nbsp;(b. 2002 in&nbsp;Houston, TX)&nbsp;is an interdisciplinary artist based in Chicago, IL. Her paintings serve as an archive of their history, capturing moments from the 1970s through the early 2000s that lend a stranger-like quality in the realm of the family or kinship space. Diaw has exhibited her work with John St Gallery, Point Blank Gallery, and Gure. She is a BFA candidate at the School of the Art Institute of Chicago (2026).&nbsp;Rebekka Federle&nbsp;(b. in&nbsp;Chicago, IL) is a multidisciplinary artist based in Chicago, IL. Federle received her MFA from the University of Chicago (2025). Federle’s work was recently exhibited in the solo shows&nbsp;The Liberators, Chat About x CWAC Exhibition Series&nbsp;(Cochran Woods Art Center, IL) and&nbsp;In Your Dreams&nbsp;(Topo, ME) and&nbsp;GOODUNANIMOUSBAD BADUNANIMOUSGOOD(Logan Center, IL)&nbsp;Ava Peterson&nbsp;(b. 2002 in Columbus, OH) is an interdisciplinary artist based in Chicago, IL. Peterson received a BFA in Studio Art from Denison University (2024) and is an MFA candidate in Painting &amp; Drawing at the School of the Art Institute of Chicago (2026). Notable exhibitions include the solo shows&nbsp;House &amp; Garden&nbsp;(Incubator Gallery, IL) and&nbsp;Clear the Kitchen Table&nbsp;(Bryant Arts Center, OH) as well as the group show&nbsp;In a Child's Place&nbsp;(Purple Window Gallery, IL). Peterson has also received the Nan Nowik Memorial Award for Outstanding Artistic Expression (2024) and was a Luminarts Visual Arts Fellowship Finalist (2025).&nbsp;Olivia Porter&nbsp;(b.1995 in Los Angeles, CA) is a multidisciplinary artist based in Los Angeles, CA. Porter received her BA from Kenyon College (2018). Recent exhibitions include&nbsp;The Last Notice Show&nbsp;(Rusha &amp; Co., CA) and&nbsp;Garden 2022(Ladie’s Room, CA).&nbsp;

Housewarming

Working with shaped canvases, he breaks the rectangle, giving his works a sense of floating in space. We love their physicality…&nbsp;his practice goes far beyond painting realistic objects; he fabricates “canvases” that trick the eye.This marks Sechor's breakthrough exhibition.&nbsp;Over the past year, VSG's quarterly releases of his train cars have sold out every time.&nbsp;For this show, we're releasing nine new works — seven already placed through strong collector outreach. The two remaining cars are below.

Authorized Entry: Sechor & Akiva Listman

DOCUMENT Chicago is delighted to present a two-person exhibition of photographs by Jimmy DeSana and Paul Mpagi Sepuya. Opening on January 9, the exhibition will remain on view through March 21, 2026. This intergenerational dialogue between the work of Jimmy DeSana (b. 1949, Detroit, MI – d. 1990, New York, NY) and Paul Mpagi Sepuya (b. 1982, San Bernardino, CA) unfolds as a set of carefully matched pairings. Both artists use photography to engage with queer bodies and the politics of representation, implicating the viewer as much as any figure who appears in the frame. Closely associated with New York City’s No Wave and downtown art scenes in the late 1970s and employing a rich array of photographic processes, DeSana drew on Surrealism in presenting bodies in confusing entanglement with everyday objects as well as one another. Anticipating the sexual anxieties of the imminent AIDS crisis, he infused queer erotics with equal parts absurdity and dread. Beginning his career in the mid-2000s, Sepuya’s work comes from his intimate involvement and collaboration with queer communities on both U.S. coasts. The desiring gaze can only take in Sepuya’s bodies via fragmentation, mirroring or the clever reproduction of his previous photographs; effects meticulously produced by Sepuya in the studio rather than by any digital manipulation. Side by side, DeSana and Sepuya remind us that queer aesthetics—much like queer liberation—is a continual process, never far from the lived, corporeal world. Image: Paul Mpagi Sepuya,&nbsp;Darkroom Mirror (0X5A0752), 2019. Archival pigment print; 51 x 34 in.

Jimmy DeSana and Paul Mpagi Sepuya

Western Exhibitions is thrilled to present Spaces for People, Systems for Spaces, a group show about the built environment — cities, buildings, structures, urban planning — featuring 15 artists from across the States who make art about architecture.&nbsp; Kim BeckJohn BehnkeMarshall BrownCourttney CooperShir EndeEdie FakeJazmine HarrisR.J. JuguilonMakayla LindsayAya NakamuraBrian PetroneDeb SokolowRyan StandfestMarvin YoungJoe Zaldivar Image: Joe&nbsp;ZaldivarKohls Department Store in Upland, 2024marker and watercolor on paper18h x 24w in

Spaces for People, Systems for Spaces

Not a Soft Thing is a multifaceted exhibition by 15 artist/mothers spanning diverse cultural backgrounds, disciplines, and stages of caregiving. Together, this artist collective challenges the idealized narratives of motherhood, exposing the strength, struggle, and resilience that shape both art making and parenting. Through the media of painting, photography, ceramics, text, and installation, this exhibition explores the question: “What does it mean to create in the margins of care?” Some pieces are resolved and refined; others remain raw, incomplete, or in-process by design, revealing the realities of creating art in stolen moments. Collectively, the works reflect the fragmented time, emotional labor, and radical tenderness inherent in caregiving. Born organically through an interconnected community of artist mothers, this collective was founded as a space of solidarity. Not a Soft Thing is not only about their identity, but also about how they keep showing up—building community with and for one another creating, caring, and telling stories that shape contemporary art and culture. This exhibition is both a call to action and an invitation—to recognize caregiving not as a barrier to creativity, but as a powerful, generative force within it. Included in the exhibition are artworks uniquely designed to be kid-friendly and serve as an open invitation for audience participation, creating space for meaningful, memorable interactions for all generations. Exhibiting artists include A.Martinez, Angela Lopez, Aubrey Ingmar, Bobbi Meier, Connie Noyes, Cydney M Lewis, Jenny Halpern, Jihae Park, Katie Kirk, Keeley Haftner, Noelle Garcia, Orr Menirom, Sarana Mehra, Tulika Ladsariya, and Yemisi Oyeniyi.

Not a Soft Thing: A Group Exhibition by Artist Mothers

The KIA is pleased to present the annual&nbsp;Young Artists of Kalamazoo County&nbsp;exhibition, celebrating the artistic achievements of students in grades K–8. Nearly 70 art educators carefully select each featured work, creating a highly-anticipated partnership with our community’s exceptional teachers. This yearly highlight offers visitors of all ages a dynamic and uplifting experience.This show is open to K-8 students attending school in Kalamazoo County. Teachers are able to choose works from their students to be displayed at the KIA. The number of works that a teacher is able to submit is determined by the number of students attending their school.&nbsp;<a rel="noopener noreferrer" href="https://www.kiarts.org/yakc-teachers/" target="_blank">View info for educators here.</a>

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