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

We meet abroad on neutral ground.Forget he of plain food and soft looking shoes, and all that which is common among commoners.&nbsp;Learn to love things so fine that they border on nothing. As for your successful animals and cities - descend upon them and pronounce them good.&nbsp;A princess is unsure of what to eat.&nbsp;And who will chew my food? Who will call and refresh me?She embodies sweetness and wants harmony, but lacks inner power until a crisis forces growth.&nbsp;If you walk slow and there’s no moon, your nightly disappearance will go unnoticed. You will see others in their respective pavilions, enduring their own peculiar tests. Their eyes point in different directions to keep their mythologies intact. Some are clever, some are spoiled, but all are as real as stone.Show them your gift, you are grateful and good. We all drink from the same glass.Fall asleep tonight never to be threatened again by such different but equal beauties.&nbsp;Know that I would make the world a ruby for your little finger, and die in an oval of your tears. So goes the path of the clean heart - see things only as God sees them. Between me and an angel there must be a difference.Image: Scroll,&nbsp;Oil on canvas, 22 x 36 inches

Castle: Amy Pearl Lang

Opening Reception: Friday, April 17 from 5 to 8PM Artist Talk: Saturday, April 18 starting at 1PM 207 E Buffalo St, Suite 404, Milwaukee, WI 53202 (Marshall Building, 4th floor) Kim Storage Gallery is pleased to present Reflections and Undercurrents, a solo exhibition of new&nbsp;paintings by Katherine Steichen Rosing that immerses viewers in the invisible forces shaping forests and watersheds amid&nbsp;climate disruption. Rosing’s work reveals both the resilience and fragile balance of ecosystems under stress, asking what&nbsp;persists—and what quietly disappears—beneath the surface of the landscapes we love. In this body of work, she abstracts hidden ecological processes into vividly hued, densely layered surfaces, merging the&nbsp;visible and invisible through inscribed marks that are later veiled by color, like root systems and currents we cannot fully&nbsp;see. Reflections and Undercurrents introduces submerged forests of yellow-green trunks rising through ultramarine&nbsp;floodwaters, holding the tension between visual allure and the unsettling question of whether we witness temporary&nbsp;inundation or irreversible transformation. Grounded in long-term observation, environmental research, and collaborations with scientists, Rosing’s practice&nbsp;addresses extreme weather cycles—drought, deluge, and intensifying storms—that leave forests stressed and&nbsp;vulnerable, from local neighborhoods to distant northern ecosystems. She understands painting as a way to convey the&nbsp;felt experience of environmental change, creating a contemplative space where beauty and unease coexist and where&nbsp;subtle shifts in color, light, and texture echo broader ecological transformations. Born in Appleton, Wisconsin, Rosing is known for environmentally engaged paintings and immersive installations&nbsp;exploring relationships among forests, watersheds, and climate. She has exhibited in over one hundred solo and group&nbsp;shows in museums and galleries, including the Rockford Art Museum, Amos Eno Gallery (New York), the Arts Club&nbsp;(Washington, DC), and the Museum of Wisconsin Art. Her work is held in numerous public and private collections, and she holds an MFA from Northern Illinois University. She received the 2022 Forward Art Prize. Image: Blue Damselflies Flitting About My Kayak, Acrylic on canvas, 44 x 55"

Reflections and Undercurrents

Heather Mekkelson: bass note

Mariane Ibrahim is proud to present its first solo exhibition with Youssef Nabil,&nbsp;No one Knows but the Sky.&nbsp;Cinema forms the stage upon which the photographic and video work of Youssef Nabil unfolds. Within it, the history of Egyptian cinema coexists with his childhood memories of Cairo, shaped by the film posters of a country that remains a major center of popular culture. Through its images, sounds, and stories, Egyptian cinema has shaped tastes, morals, and even language across the Arab world for decades. Through cinema, Nabil encountered art for the first time, and it remains the lens through which he has continued to observe and register the many transformations of his native land.The artworks presented in this exhibition—one of which gives the exhibition its title, and where the video&nbsp;The Room&nbsp;is shown for the first time—offer a glimpse into the last twenty years of the artist’s practice, where his stylized films move alongside hand-colored images. In these pieces, Nabil applies a meticulous process of painting directly onto the print, transforming each work into a unique object, in the tradition of the Egyptian film posters of his youth.<a href="http://link.marianeibrahim.com/ls/click?upn=u001.QEhnWBve3x4w-2FznpuSOKkHDHeH9lWxp-2BpojXmbdTFEfNIzMO4Fk0hZGVAcuFTnrwuZu5hmOl-2F6D5nZnF86DF23mK0QDSMs06h62FVId6b8EeBA7gPki6Ji8EdgMRK5OAW-2F3sLMS2dDG6EXp646BAWQ-3D-3DlcsV_0g5QiKQ3ANfCkWXxwzczn1phIok0-2FnBF8GNWXrNhq2-2B4ftGj9DI8Jn4AfRAGeAJVikNEQwxpwEcoOyKbtwuEcOmpV8pZqW9wDkAW98XvXyxFYzbJ4WJEwgS9NSON6MGnCTfJn1AkphRC0R-2FMWpGqOzHnre5xAAnJH0jckxlKiDrzDDB3ft4yXB-2FVIkaItTRuXQ3hju5kyBUW7PMdjkTAgnIQNV3P4O8dFGQ6ATHGnagwAAHuX-2FfZC5QkUT4B0uvuhpa4SC9C81tqNybS1ONfOa17CE42rNNIrUHGi2sfSS-2FFaPjilPEmhUOm6cTxA0BS8lCNIDewVQcr4Jp4CMFh50SF4qaVFpcYFVmre8r5psua2s0dLuDCbAuyL5I5yDiQwdgLSHmoS-2BZCPbt1HOyKCf46Ad4bf2BhPEQ42l1j4xxc0olHXXmTW-2BPDCkLCy1FeWQN2QjhiWSY-2BhnWIEYO-2F21URteTqxj8s0o2nKiHkBoVpNGXD-2FTMmXPcTnRPoWw5yjaypUblX9rBLyNl9X-2FOgoNc9b-2BRvc0A4NqS00FfW4kgkVj9FSXt-2BOEI-2FpxXPYDDmvyfJeO3Fb3p4TKL0tVIDlWjUQCJm5tJWM9yoHfjVoaACgOIJQfCOxSm1f-2F0YSxnV3DEHy-2F40jUgGH0XrfvEZOo2dU6i2dy1XRSdXBxkVc3g9y-2FpGdD6mgFTYrFkJ42Re8IpnJ06TfxH6YlYEmsv0a0DTl0bQKEcW3oxzKvWMPtweY0sHYJHmbjAxmBFzy5ZtEIjNnlu-2BATUuPUlkPWg3QfuUTIh9AGsnaxPjQgYbpSuQtOwHFNPOXN9A5T35bocaAPv9Cg5XX2VlF-2BQWbCGSJoeY0tWc20da-2BL8TSp09Td0-3D" rel="noopener noreferrer" style="color: rgb(0, 0, 0);" target="_blank">MORE INFORMATION</a> Image: Youssef Nabil,&nbsp;Self-portrait with Roots, Los Angeles, 2008. Courtesy of the artist and Mariane Ibrahim.

Youssef Nabil: No One Knows But the Sky

Join Jackson Junge Gallery in celebrating the past, present, and future of Benjye Troob’s remarkable career in FORMS &amp; HORIZONS: A Retrospective. Spanning more than four decades of drawing and painting, this retrospective highlights Benjye Troob's lifelong dedication to art. The exhibition brings together her select works from the late 1990s to today, offering visitors an intimate look at Benjye’s artistic evolution and her ever-shifting yet unmistakable vision. While her style continues to evolve, her art consistently captures both the vitality of the human form and the beauty of the natural world. Free and open to the public.

FORMS & HORIZONS: A Retrospective - Opening Reception

Uncertain HistoriesJune 14, 2025 - May 24, 2026Chicago Cultural Center, Grand Army of the Republic (G.A.R.) Hall Cases, 2nd Floor North Everything in history, once it has happened, looks as if it had to happen exactly that way. We can’t imagine any other. But I am convinced of the uncertainty of history, of the possibility of surprise, of the importance of human action in changing what looks unchangeable.—Howard Zinn (US Army veteran), 1994* The Grand Army of the Republic (GAR) Hall was built as a memorial to the sacrifices of Union Civil War veterans and their families. According to the renowned American abolitionist Frederick Douglass, their sacrifices were for freedom and a testament to the most profound declaration of human rights in history. Yet, Douglass also argued in a 1877 speech to the GAR, that the task of fully realizing this freedom remained unfinished. In the face of this unfinished task, and the current challenges to freedoms,&nbsp;Uncertain Histories&nbsp;reveals entanglement between past military actions and today’s state repression, between historic declarations and the current struggle for freedom. The creative practices of contemporary veteran artists&nbsp;Darrell W. Fair,&nbsp;Eric J. Garcia,&nbsp;Monty Little (Diné), and&nbsp;Amber Zora&nbsp;draw throughlines that complicate legacies of colonialism and militarism while seeking a more peaceful future. These creative acts of hope transform violent histories into stories of survival and resistance. As celebrated historian and World War II veteran Howard Zinn writes, “To be hopeful in bad times is not just foolishly romantic. It is based on the fact that human history is a history not only of cruelty, but also of compassion, sacrifice, courage, kindness.”* Uncertain Histories&nbsp;is curated by Aaron Hughes in affiliation with the emerging Veteran Art Movement, with support from the DEMIL Art Fund, DCASE, and the City of Chicago.* Howard Zinn,&nbsp;You Can't Be Neutral on a Moving Train: A Personal History of Our Times&nbsp;(Beacon Press, 1994).

Uncertain Histories

Terumi Saito’s first solo exhibition with the gallery opens April 10, 2026, from 5 to 8 p.m. Saito combines backstrap weavings toned in natural dyes with handbuilt ceramics to create highly original forms. Drawn to the intimate connection between body, time, and material that backstrap weaving requires, Saito has made it the foundation of her practice—one of the earliest weaving technologies, it has been practiced across Asia and the Americas for millennia. She sees weaving as a living language, evolving, yet deeply connected to its origins, and a form of reflection, each work a record of time and energy spent.&nbsp;

Terumi Saito: Interweaving — Fiber and Clay

ATHENA 2026 Solo Shows

Opening Reception: Sat., April 11, 6-9 pm We will also have a reception on April 8 from 6-9pm. Tony Fitzpatrick was the beloved, brash, and bold artist, actor, and poet who died too soon at the age of 66 on October 11, 2025. He was a prolific collage artist and printmaker who loved the city of Chicago as well as birds, dogs, and regular folks. For years he has supported other artists and lifted them up. Before he died, we were working with him on this very special collage show. Tony selected most of the artists in this show because he said, “they are among the best.” This exhibit includes works by Lisa Barcy, Lou Beach, Monica J. Brown, Andrea Burgay, Tony Fitzpatrick, Glen Gauthier, Paul Loughney, Jack Poker, Nellie Seigel, and Paloma Trecka. Along with Tony’s work, there are several pieces in the show that were made in tribute to Tony. Many of the artists worked with or were mentored by him. The work in this exhibition showcases the myriad styles and subjects of contemporary collage revealing the dynamism of this art form. This exhibition explores personal memories, social commentary, and a diversity of materials. SoNa Chicago is proud to be a part of extending Tony’s legacy by showcasing contemporary collage artists and honoring him through this exhibition.

Pieces Too Short to Save: A Survey of Contemporary Collage

Our main Opening Reception for "Pieces Too Short to Save: A Survey of Contemporary Collage - An Exhibition Honoring Tony Fitzpatrick" is Sat., April 11, 6-9 pm. We will also have a reception on Wed., April 8 from 6-9 pm to celebrate the opening of the show. There will be a short program at the Saturday reception at 7:30 pm to honor Tony. Family members will be present, and his adult children Max and Gaby will read from Tony's poetry. Tony Fitzpatrick was the beloved, brash, and bold artist, actor, and poet who died too soon at the age of 66 on October 11, 2025. He was a prolific collage artist and printmaker who loved the city of Chicago as well as birds, dogs, and regular folks. For years he has supported other artists and lifted them up. Before he died, we were working with him on this very special collage show. Tony selected most of the artists in this show because he said, “they are among the best.” This exhibit includes works by Lisa Barcy, Lou Beach, Monica J. Brown, Andrea Burgay, Tony Fitzpatrick, Glen Gauthier, Paul Loughney, Jack Poker, Nellie Seigel, and Paloma Trecka. Along with Tony’s work, there are several pieces in the show that were made in tribute to Tony. Many of the artists worked with or were mentored by him. The work in this exhibition showcases the myriad styles and subjects of contemporary collage revealing the dynamism of this art form. This exhibition explores personal memories, social commentary, and a diversity of materials. SoNa Chicago is proud to be a part of extending Tony’s legacy by showcasing contemporary collage artists and honoring him through this exhibition.

Pieces Too Short to Save: A Survey of Contemporary Collage  - An Exhibition Honoring Tony Fitzpatrick

Jonathan Muecke’s sixth solo exhibition with the gallery opens Friday April 10, 2026, from 5 to 8 p.m. Muecke's practice is one of persistent material exploration yielding highly intentional forms.&nbsp;Through iterative cycles of observation, experimentation, and re-understanding—Muecke patiently tests material, scale, and form against one another. Exhibited works range across the matrix of Muecke’s practice, from chairs and tables cast in carbon fiber to inscrutable geometric sculptures, together capturing a moment in an ongoing and self-referential body of work.&nbsp;&nbsp;Jonathan Muecke and Nile Greenberg In Conversation: Saturday April 11, 2pm

Jonathan Muecke

Western Exhibitions is thrilled to present our fifth solo show with&nbsp;Marshall Brown,&nbsp;<a href="https://jxxaepcab.cc.rs6.net/tn.jsp?f=001mPZNIBbgp7CngKH7GjouZPqgrdkfsQqRZl_PgL7NDhbo0-gE8BFGy8emjM07ZJ6bdZTE3r3YzLqzbr6etCtDNKv_LTwOueZmCJitPDVOy-uIiKEHlGdtQO8GGXVCjGw2taS7eDgoDtRjzTUDmqIK23VMANarfWZo6Ym_17wOpJhKGTvsajrXXq1sGdBy49z6CCPDlkARdNOJ3Z9zpCLGgw==&amp;c=7PLORVjNRCcHiAvoo0yosgb7vONCSH2o-CAOe_uNl9Rtx5TqjGvWig==&amp;ch=FJaFVK7C8TKLubw7oZtYCqmQb_e5DAHI4W1WR0N62GsfWuwfesdlxQ==" rel="noopener noreferrer" target="_blank">Palaces and Prisons</a>, a two-part exhibition presenting collages from Brown’s new&nbsp;Palaces of Industry&nbsp;series in Gallery 1 and in Gallery 2, never-before-shown works that continue his ongoing&nbsp;Prisons of Invention&nbsp;series. Marshall Brown, an artist and architect, collapses reality and fiction with collage, a loophole between he shared territories of art and architecture. In these Palaces, he builds utopian visions from pure abstraction. In these Prisons, he constructs paradoxes from reality’s ruins.&nbsp; The show opens on&nbsp;Friday, March 27&nbsp;with a public reception from 5 to 8pm, and will run through June 6, 2026. Gallery hours are Tuesday to Saturday, 11am to 6pm.In Gallery 1,&nbsp;Palaces of Industry&nbsp;is a new series of large-scale collages on panel that returns to Brown’s earliest influences: the floating geometries and dynamic equilibrium of Suprematism, Constructivism’s photomontage tradition and layering, Giacometti’s surrealist structures, Duchamp’s readymades. He appropriates images from contemporary artists who make architecture their subject, reconstructing them as monumental collages. These are imagined futures inspired by great industrial palaces built at the birth of modernism: the Crystal Palace, factories that housed new collective labor, the production sites that promised transformation. White space floods the compositions. Fragments hover. The scale creates immersive worlds you can step inside—flatness expands into depth. Building utopian space from contemporary art’s fascination with architecture, Brown turns art’s gaze at architecture back on itself. These are not pictures. They are visions.In Gallery 2, these never-before-shown works continue his ongoing collage-on-paper&nbsp;Prisons of Invention&nbsp;series, named for Giovanni Battista Piranesi’s Carceri d’invenzione. Brown constructs these paradoxical, labyrinthine spaces from fragments of recent architectural photography, just as Piranesi built his imaginary dungeons from the ruins of Rome. Multiple viewpoints collide and diverge within a single composition. Light and shadow emerge from hidden sources. Fragments layer and overlap, creating perspectives that can’t belong to the same space. These are visions of many moments struggling to coexist—each piece holds multiple experiences that refuse to settle into one.<a href="https://jxxaepcab.cc.rs6.net/tn.jsp?f=001mPZNIBbgp7CngKH7GjouZPqgrdkfsQqRZl_PgL7NDhbo0-gE8BFGy561SuiGEWT4MhT4Os8jhBUeey3LFQ4aZ6T5uQJkYTmbYW6LkgBDGUUKHAh6iVHDti2zkaGpFn12vZDwprvXG2S2UsSIeK0AHHDg5xV_sTOC-ik1fHySs-dJq9--xAUe_lrzLix_xp92&amp;c=7PLORVjNRCcHiAvoo0yosgb7vONCSH2o-CAOe_uNl9Rtx5TqjGvWig==&amp;ch=FJaFVK7C8TKLubw7oZtYCqmQb_e5DAHI4W1WR0N62GsfWuwfesdlxQ==" rel="noopener noreferrer" target="_blank">Marshall Brown</a>&nbsp;is an architect, urbanist, and futurist whose work creates new connections, associations, and meanings among disconnected architectural and urban remnants. His 2022-23 show,&nbsp;<a href="https://jxxaepcab.cc.rs6.net/tn.jsp?f=001mPZNIBbgp7CngKH7GjouZPqgrdkfsQqRZl_PgL7NDhbo0-gE8BFGy2uuD0m8_rbJNz6t6FMZhku_YBtgfqVqv6lv3AzCA1pJHdc69fTCPz9wq3yYc6OKDI1qdwsupA_d7f6syVyEl8cGbtwKSiHhO6nLuLUTAM_HSeLxzhzD_GTG_CbHgG0Wcw==&amp;c=7PLORVjNRCcHiAvoo0yosgb7vONCSH2o-CAOe_uNl9Rtx5TqjGvWig==&amp;ch=FJaFVK7C8TKLubw7oZtYCqmQb_e5DAHI4W1WR0N62GsfWuwfesdlxQ==" rel="noopener noreferrer" target="_blank">The Architecture of Collage</a>&nbsp;at the Santa Barbara Museum of Art, was Brown’s first solo museum exhibition and most comprehensive presentation of his collages to date. Works from the show, exploratory essays, and additional pieces are published in a book of the same name, available at the gallery. Brown’s work is held in the collections of the Art Institute of Chicago, Crystal Bridges Museum of American Art in Arkansas, San Francisco Museum of Modern Art, Museum of Contemporary Photography and the University Club, both in Chicago. Brown has exhibited at the&nbsp;<a href="https://jxxaepcab.cc.rs6.net/tn.jsp?f=001mPZNIBbgp7CngKH7GjouZPqgrdkfsQqRZl_PgL7NDhbo0-gE8BFGy8emjM07ZJ6bI9Z7lobUZF4W_f2F8Fi4g9BDBfQ1J7ECDtmdtVb3cQg5FJTXuEYKopHphEXBpnTBdu-iwEOLy1uiLqfN8_lLU3OzE50o-ArwsLj_5QNYrvubhwCmA7VQ9RdxLK6LYRca&amp;c=7PLORVjNRCcHiAvoo0yosgb7vONCSH2o-CAOe_uNl9Rtx5TqjGvWig==&amp;ch=FJaFVK7C8TKLubw7oZtYCqmQb_e5DAHI4W1WR0N62GsfWuwfesdlxQ==" rel="noopener noreferrer" target="_blank">2016 Venice Architecture Biennale</a>, the&nbsp;2017 Chicago Architecture Biennial,&nbsp;the Museum of Contemporary Art Detroit,<a href="https://jxxaepcab.cc.rs6.net/tn.jsp?f=001mPZNIBbgp7CngKH7GjouZPqgrdkfsQqRZl_PgL7NDhbo0-gE8BFGy8emjM07ZJ6bjPnSRNnkqaHNQdckV1jNouRizwqncz3HG7uoyanPGCHtMMFgntkGZCp9cy03nQ2jthdXSW2ob5r5F-NlRfd6ZdO_2GUMW0f-7dL2mAGyCluR_DCaiv3gh6a8y5Bl6anJmY9LpnX_jxxofbRm900emuGK46Mk17NktrMmZjTmV3AWbSfTQ9tEu_4WKXi3rOpE&amp;c=7PLORVjNRCcHiAvoo0yosgb7vONCSH2o-CAOe_uNl9Rtx5TqjGvWig==&amp;ch=FJaFVK7C8TKLubw7oZtYCqmQb_e5DAHI4W1WR0N62GsfWuwfesdlxQ==" rel="noopener noreferrer" target="_blank">&nbsp;</a><a href="https://jxxaepcab.cc.rs6.net/tn.jsp?f=001mPZNIBbgp7CngKH7GjouZPqgrdkfsQqRZl_PgL7NDhbo0-gE8BFGy8emjM07ZJ6bjPnSRNnkqaHNQdckV1jNouRizwqncz3HG7uoyanPGCHtMMFgntkGZCp9cy03nQ2jthdXSW2ob5r5F-NlRfd6ZdO_2GUMW0f-7dL2mAGyCluR_DCaiv3gh6a8y5Bl6anJmY9LpnX_jxxofbRm900emuGK46Mk17NktrMmZjTmV3BtWSd6D6EhGNBWjcqDjYCa&amp;c=7PLORVjNRCcHiAvoo0yosgb7vONCSH2o-CAOe_uNl9Rtx5TqjGvWig==&amp;ch=FJaFVK7C8TKLubw7oZtYCqmQb_e5DAHI4W1WR0N62GsfWuwfesdlxQ==" rel="noopener noreferrer" target="_blank">The Arts Club of Chicago</a>, the Architecture and Design Museum Los Angeles, and in a 10-year survey,&nbsp;<a href="https://jxxaepcab.cc.rs6.net/tn.jsp?f=001mPZNIBbgp7CngKH7GjouZPqgrdkfsQqRZl_PgL7NDhbo0-gE8BFGy8emjM07ZJ6bnZplywff9dtv64hK1sygeYVTet5MW28aeYa2mWbJilpfcGIegsKRgzHPd3Fw3INFhZuhPTMyGYiSx3oM54bg-6PxmE5piljEp70XQEQoZVWE9ZW5QqSTyvtgWKniyo2PxYmvaVt2Y9TeXThJX4Zss0x6kjNMpy7SU7fIBeUIBn_H1wzSvuTVuz6UPKMjVo7bq4mvbAEVonnH1Mh6YAXWv6Ca1gCMBk17&amp;c=7PLORVjNRCcHiAvoo0yosgb7vONCSH2o-CAOe_uNl9Rtx5TqjGvWig==&amp;ch=FJaFVK7C8TKLubw7oZtYCqmQb_e5DAHI4W1WR0N62GsfWuwfesdlxQ==" rel="noopener noreferrer" target="_blank">Recurrent Visions: The Architecture of Marshall Brown Projects</a>, at the Princeton University School of Architecture. Marshall Brown received his masters degrees at Harvard University. He is a full professor with tenure at the Princeton University School of Architecture, where he directs the Princeton Urban Imagination Center. Marshall Brown lives in Princeton, NJ and Philadelphia, PA. Foundry﻿, 2026, collage on prepared panel, 72 x 87 inches

Marshall Brown: Palaces and Prisons

Oliva Gallery presents&nbsp;Girl Talk, a solo exhibition of paintings by Chicago-based artist Lindsey Kircher, on view from April 3 through May 30, 2026. The exhibition brings together a group of recent figurative works that stage psychologically charged scenes populated by women, animals, and symbolic objects. Through dense compositions and saturated color, Kircher constructs theatrical environments that blur the boundaries between interior life and performance. Kircher’s paintings unfold as layered narrative spaces in which bodies, decorative objects, and animal figures intertwine. Poodles, parrots, musical instruments, bird cages, fruit, and candles appear alongside female figures whose poses oscillate between vulnerability and command. Limbs twist and fold across the canvas, creating compositions that feel at once intimate and unstable. These environments operate less like conventional portraits and more like staged psychological tableaux where fragments of domestic life accumulate into something closer to myth or allegory. Across the exhibition, Kircher examines the visual language historically used to frame femininity. The paintings reference traditions of figurative painting that intertwine the body, ornament, and domestic space, yet they complicate these associations through exaggeration, humor, and visual excess. Characters appear aware of their own performance, inhabiting environments that feel part boudoir and part stage set. The result is a body of work that treats identity not as a fixed image but as a shifting composition of gestures, objects, and symbolic relationships. <a href="https://www.eventbrite.com/e/opening-reception-girl-talk-by-lindsey-kircher-at-oliva-gallery-tickets-1985080888374?aff=oddtdtcreator" rel="noopener noreferrer" target="_blank">RSVP</a> to the opening reception

Girl Talk by Lindsey Kircher

Anne Loucks Gallery is pleased to announce the opening of&nbsp;Reflections,&nbsp;a new exhibition in our Glencoe gallery featuring west coast artists Victoria Adams, John McCormick and Leslie Wu.The show includes 35 landscape paintings capturing dramatic skies, glistening water, and meditative vistas.&nbsp;Please join us for the Opening Reception with artist Leslie Wu, Friday, March 13th from 5 - 7 pm at 309 Park Avenue in Glencoe.&nbsp;

Victoria Adams, John McCormick & Leslie Wu: Reflections  

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

Geometries In Light

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

Chicago Presentation of Firelei Báez

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

Dispossessions in the Americas

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

Soft Evidence

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

Carroll Dunham: Drawings, 1974–2024

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

Sarah Smelser: Sandia (online exhibition)

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

Matisse’s Jazz: Rhythms in Color

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

Dabin Ahn: Nocturne

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

Before We Knew Better

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

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