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

Andi Crist: Live Laugh Labor Thoughts on usefulness and other myths Cleve Carney Museum of Art&nbsp;(CCMA) presents the first solo museum exhibition by multi-disciplinary artist&nbsp;Andi Crist, titled "Live, Laugh, Labor: Thoughts on Usefulness and Other Myths,” Oct.16, 2025 – Jan. 11, 2026. An opening reception will take place from 5-7 p.m. Thursday, Oct. 16 with remarks from the artist.&nbsp; Recently named one of Newcity’s 2025 Breakout Artists, Crist now presents her first major museum exhibition. The show features sculptures, drawings, and ceramic works from the past five years that explore the artist’s role as an arts worker.&nbsp; In this upcoming exhibition, Crist’s work prompts broader questions about labor, authenticity, and the shifting recognition of human effort in society today. Drawing inspiration from her career as a professional art handler and fabricator, this exhibit navigates the boundaries and relationships between work, play, and practice.&nbsp; “Andi Crist’s playful and humorous work challenges us to consider pressing cultural questions: What is the worth of human labor in an era of cheap goods and artificial intelligence, and what does it mean to ‘make’ in a world where so much work is hidden?” —&nbsp;Justin Witte, Director and Curator of the Cleve Carney Museum of Art In this solo exhibition, Crist utilizes various media, including woodworking, ceramics, leather craft, and mold-making/casting. These pieces showcase Crist’s technical skill and wit, while offering a playful perspective on the roles and representations of an artist as a worker.&nbsp; In Crist’s work “Ladder” the artist has hand-crafted an a-frame ladder appears at first familiar. The work has conventional ladder rungs on one side, but the other side is abruptly shortened and terminates in two handholds carved to fit Crist’s own hands. The piece only functions when Crist physically intervenes: she straps herself to one side, holding the structure steady above her head so another person can climb. That literal dependence makes the work a wry interrogation of the “ladder” as a metaphor for upward mobility and hierarchical progress. Crist transforms a ubiquitous image of success, rungs, ranks, reaching the top, into a staged dependency: she is simultaneously the wall the ladder leans on, the support that enables advancement, and a laborer charging for her service. The work folds wordplay and labor politics together, asking who holds us up and what we pay for that support.&nbsp; Andi Crist is a Chicago-based artist whose practice explores the intersections of urban environments, community and transformation. Known for her innovative use of found materials and construction techniques, Crist reimagines everyday objects and spaces, often incorporating elements of sustainability and reuse in her work. Her installations are immersive, encouraging viewers to reconsider the world around them and engage with their surroundings in new ways. Through both solo projects and collaborations with other artists, Crist’s work highlights the beauty and resilience of urban life, while challenging viewers to reflect on issues of ecology, community and collective responsibility.&nbsp; Her pieces have been featured in Tiger Strikes Asteroid Chicago, Roots &amp; Culture, and the Chicago Athletic Association. Recently, Crist was named as Newcity’s 2025 Breakout Artist’s issue. Crist graduated from the Illinois Institute of Technology, where she gained her wood and fabrication knowledge while also freelancing as an art handler. In 2010, Crist founded Autotelic, a non-profit arts organization that serves artists on the northwest side of Chicago by creating affordable workspaces and exhibitions.&nbsp; “Live, Laugh, Labor: Thoughts on Usefulness and Other Myths” is curated by Justin Witte, Director and Curator of the CCMA. The exhibition will be on view Oct. 16, 2025 - Jan. 11, 2026. Admission is free. CCMA is open Wednesday – Sunday, 11 a.m. – 5 p.m. and one hour prior to MAC Performance Series concerts.&nbsp;For more information, visit&nbsp;TheCCMA.org&nbsp;&nbsp;and follow along at&nbsp;@CleveCarneyMuseumofArt For expert insight into the exhibition’s themes, tune in to CleveCast, the Cleve Carney Museum of Art’s new podcast, where Justin Witte hosts conversations with special guests including curators, artists, and scholars for behind-the-scenes stories and deep dives into the museum’s exhibitions. His interview with Crist can be found on the CCMA website at&nbsp;<a style="color: rgb(229, 28, 40);" rel="noopener noreferrer" href="http://theccma.org/clevecast" target="_blank">theccma.org/clevecast</a> Related Exhibition Events and Programming---Opening reception Thursday, Oct. 16, 5 – 7 p.m. Remarks from the artist. Light refreshments and cash bar. This event is free and open to the public.---CCMA Chief Curator Justin Witte will give a curator talk and tour of the exhibition Saturday, Oct. 18, 6:30 – 7 p.m. The event is free. Advance registration is not required <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1760641826/tm1vtz1z478stzqrp0fd.jpg">

Andi Crist: Live Laugh Labor

OPENING RECEPTION: Friday, November 7, 2025 |&nbsp;<a style="color: rgb(110, 6, 16);" rel="noopener noreferrer" href="https://www.eventbrite.com/e/ten-by-ten-opening-reception-tickets-1854549440299?aff=oddtdtcreator" target="_blank">RSVP</a> ﻿TEN by TEN is a yearly celebration of diversity and passion found within the Chicago arts community. With each piece being 10” x 10”, the result is a dazzling grid of artwork, in all styles and mediums. Being open submission, the exhibition is a chance for artists of all levels to contribute and gives an unfiltered look at what is going on today in the Chicago arts scene and beyond. Gallery Director,&nbsp;<a style="color: rgb(110, 6, 16);" rel="noopener noreferrer" href="https://j2gallery.com/about/staff/kaitlyn-miller/" target="_blank">Kaitlyn Miller</a>&nbsp;reflects, “After the first year of TEN by TEN, we recognized the need for an open submission exhibition. Finding your footing in the art world is not an easy task, it is competitive and often disheartening and our goal has always been to support emerging artists. We had such an overwhelming response to the first year, so we thought let’s expand and accept every artist that applies. The exhibit has grown and become a way for Jackson Junge Gallery to give back and celebrate Chicago’s incredible arts community.”Featured in TEN by TEN are works by Jackson Junge’s in-house artists, whose work the gallery exhibits year-round. Featured artist,&nbsp;<a style="color: rgb(110, 6, 16);" rel="noopener noreferrer" href="https://j2gallery.com/about/artists/laura-lee-junge/" target="_blank">Laura Lee Junge</a>, created an eye-catching mixed media painting, “<a style="color: rgb(110, 6, 16);" rel="noopener noreferrer" href="https://j2gallery.com/store/artists/laura-lee-junge/originals-laura-lee-junge/mixed-media-originals-laura-lee-junge/inward/" target="_blank">Inward</a>”. The painting is done in a 3D style seen in her solo exhibition “CUCKOO: I’M NOT CRAZY, YOU ARE”, earlier this year. This series explores elements of freedom, movement and time. The focus of “Inward” is handmade clay and metal dragonflies, a departure from Junge’s usual butterfly subjects in this series. The background has impressions of clock gears imprinted in thick acrylic paint, an element used in Junge’s mixed media collection.&nbsp;<a style="color: rgb(110, 6, 16);" rel="noopener noreferrer" href="https://j2gallery.com/about/artists/kate-hoyer/" target="_blank">Kate Hoyer</a>’s “<a style="color: rgb(110, 6, 16);" rel="noopener noreferrer" href="https://j2gallery.com/store/mediums/painting/rainbow-kitty-2/" target="_blank">Rainbow Kitty</a>” is painted in her signature bold and colorful style, utilizing stripes and blocks of color to define the forms of her animal subjects.&nbsp;<a style="color: rgb(110, 6, 16);" rel="noopener noreferrer" href="https://j2gallery.com/about/artists/autum-justine-miller/" target="_blank">Autumn Justine Miller</a>&nbsp;has gone with a less cuddly character for her humorous painting, “<a style="color: rgb(110, 6, 16);" rel="noopener noreferrer" href="https://j2gallery.com/store/mediums/painting/duck-doctor/" target="_blank">Duck Doctor</a>”, which features a rubber ducky with a plague mask and a skull tattoo. Miller is known for her creepy-cute subjects, and this painting is no exception.Stand-out pieces in TEN by TEN are often using unexpected materials. Jonathan Pruc’s shining piece “<a style="color: rgb(110, 6, 16);" rel="noopener noreferrer" href="https://j2gallery.com/store/special-exhibit/too-much-on-my-mind/" target="_blank">Too Much on My Mind</a>” utilizes many colored mirrors to reflect light and draw the viewer in. The mirrored surface gives it a slightly different appearance and color with a change of position or lighting, giving a unique optical effect. Another notable piece this year is Josh Brickman’s “<a style="color: rgb(110, 6, 16);" rel="noopener noreferrer" href="https://j2gallery.com/store/special-exhibit/el-oh-el/" target="_blank">El Oh El</a>”, a map of the Loop made entirely of Legos. Brickman’s piece is both playful and well executed; you could almost use it to navigate downtown!Michael Bever’s painting also brings us to the El. His acrylic painting “<a style="color: rgb(110, 6, 16);" rel="noopener noreferrer" href="https://j2gallery.com/store/special-exhibit/parked-under-the-el/" target="_blank">Parked Under the El</a>” finds the beauty in a rainy evening beneath the train tracks, focusing on the warm reflections of light from surrounding streetlamps. A car idles in the center of the painting, perhaps waiting for someone to hurry up so they can get home before the weather turns once again.When viewed all together as one large wall of artwork, TEN by TEN becomes an installation representing a year of creation and exploration from hundreds of emerging and established artists. The exhibition is an opportunity for all these creatives to come together and celebrate the hard work and progress that they have made this year.TEN by TEN will be on display November 3rd, 2025, through January 11th, 2026, at Jackson Junge Gallery. Join us in celebrating the wide range of work that Chicago’s artists have to offer!TEN by TEN is curated by Gallery Owner&nbsp;<a style="color: rgb(110, 6, 16);" rel="noopener noreferrer" href="https://j2gallery.com/about/staff/chris-jackson/" target="_blank">Chris Jackson</a>, Gallery Director&nbsp;<a style="color: rgb(110, 6, 16);" rel="noopener noreferrer" href="https://j2gallery.com/about/staff/kaitlyn-miller/" target="_blank">Kaitlyn Miller</a>, Assistant Gallery Director&nbsp;<a style="color: rgb(110, 6, 16);" rel="noopener noreferrer" href="https://j2gallery.com/about/staff/kristen-arcus/" target="_blank">Kristen Arcus</a>, Gallery Assistants&nbsp;<a style="color: rgb(110, 6, 16);" rel="noopener noreferrer" href="https://j2gallery.com/about/staff/marisa-taravella/" target="_blank">Marisa Taravella</a>&nbsp;and&nbsp;<a style="color: rgb(110, 6, 16);" rel="noopener noreferrer" href="https://j2gallery.com/about/staff/maddie-kirmse/" target="_blank">Madeline Kirmse</a>&nbsp;and Gallery Intern Sadie Walden.

Ten by Ten

The Art Center's Annual Members and Faculty Exhibition.

In View 2026

Bert Green Fine Art&nbsp;is pleased to present our first solo show by Indiana-based contemporary artist&nbsp;Tom Torluemke.Tom Torluemke&nbsp;is known for his ambitious and evocative socio-political paintings. Drawing is the rarely seen starting point and driving force in his practice. It serves as a meditative and relaxing exercise, a testing ground for ideas, and a springboard for the direction the artist takes when pursuing a project. This exhibit features a selection of drawings by the artist stemming from three areas of the artist's work: plein air landscape drawings of the area near the artist's home, fanciful and personal autobiographical graphite drawings, and studies for the artist's large, imaginative, ambitious socio-political paintings.Born in Chicago, Illinois, his practice spans 40+ years and includes works in painting, drawing, sculpture, and installations in various mediums. Torluemke is known for his powerful, no-holds-barred approach to subject matter relating to socio-political, ethical, and humanistic themes. With over 150 solo and group exhibitions and 30 public art commissions throughout the Midwest, his work testifies to the relevance and scope of his ideas and his ability to present them in a meaningful context within their communities. In 2025, Torluemke's work on paper was the subject of a career retrospective,&nbsp;Tom Torluemke: Live! On Paper, 1987 – 2024&nbsp;curated by&nbsp;Dan Cameron&nbsp;at the&nbsp;Chicago Cultural Center&nbsp;with a monograph published by&nbsp;SKIRA Editore, Milan. The show was reviewed in&nbsp;Art Forum&nbsp;magazine in October 2025.&nbsp; All gallery events are free and open to the public. Additional information found at the gallery website at&nbsp;<a rel="noopener noreferrer" href="https://bgfa.us./" target="_blank">https://bgfa.us.</a>&nbsp;Please forward to any interested parties.

Tom Torluemke: Sorted Sheets

PATRON is proud to present Long, Shore, Drift, our first solo exhibition with New York–based artist Simon Benjamin. Through a multidisciplinary practice spanning painting, sculpture, installation, printmaking, and video, Benjamin posits the sea and coastal zones as sites of a perennially entangled network of geology and culture. For Benjamin, who is originally from Jamaica, the ecology of the Caribbean becomes a site at which to examine the historical and current relationships between afro-diasporic people and the sea. Emergent from his work to capture his own experiences as an avid surfer and swimmer, Benjamin’s recent work incorporates the physical materials of coastal zones, alongside and in juxtaposition to the visual lexicon of stylized ephemera of tourism produced by an ongoing colonial, commercial economy. Long, Shore, Drift refers to the geological term longshore drift, a natural process that moves sediment along a coastline resulting from the waves’ repetitive actions. Within the context of the exhibition, the pattern becomes a metaphor for examining how coastlines evolve, a concept Barbadian poet Kamau Brathwaite’s refers to as tidalectics—a framework that conceives of Caribbean identity as cyclical and fluid, shaped not by fixed geography but by movement and exchange. Continually unfolding and falling back upon itself, Long, Shore, Drift offers a repetitive, rhythmic reminder of the series of extractions that continue to shape the world and our perception of it.

SIMON BENJAMIN: Long, Shore, Drift

We are pleased to present Once upon a midnight dreary, a solo exhibition of new works by French-artist Djabril Boukhenaïssi. This show marks the artist's first solo presentation in the United States, and the first with the gallery. This presentation of engravings and paintings meditates on the Night as a space of contemplation and connection where darkness dissolves the boundaries between self and the world. Drawing from literary and philosophical references including Baudelaire, Novalis, Rilke, and Max Milner, Boukhenaïssi’s palette of deep blues and mauves activates abstraction through opacity and illumination. His canvases transform the shadows of night into a site of memory and imagination, asking what emerges under the moonlight when the visible gives way to the unseen. The exhibition will run from November 14, 2025, to January 17, 2026, with an opening reception on Friday, November 14, 2025, from 6 - 8 PM.

Once upon a midnight dreary

Pistachios is hosting a solo exhibition with critically acclaimed artist, Sowon Joo. The work featured involves a labor-intensive metal weaving process that requires a tremendous amount of time and effort, resulting in sculptural jewelry that is in perfect harmony with the wearer.&nbsp;"I pour my thoughts, memories and spirit during the process of weaving, and the fragile and delicate nature of weaving with silver wire represents the vulnerability and fragility of life, especially in the early stages, which demands our care and protection. I design each piece as a subject within the context of the human body and consider it complete when the subject and the context are united in harmony and balance. In that sense, each person wearing my work is a part of my work; and my work, hopefully, is a part of the life of each person wearing it. By this relationship, even without direct communication, the user and I are part of each other’s life and experience." - Sowon Joo

Sowon Joo: Whispers of Winter Blooms

In 2022, RAM organized a landmark exhibition for its street-facing Windows on Fifth Gallery. With artworks chosen from RAM’s collection,&nbsp;<a style="color: var(--link_color);" rel="noopener noreferrer" href="https://www.ramart.org/exhibit/on-fire-women-glass/" target="_blank">On Fire: Surveying Women in Glass in the Late-Twentieth Century</a>&nbsp;offered a cursory look at how women were shaping glass as an art material in the 1980s and 1990s. The exhibition title alludes to certain techniques of physically working with glass as well as the idea that some artists were innovating and making names for themselves—that they were “on fire” in their art world trajectory. This exhibition, an expanded version of the 2022 show, offers a deeper dive into this vital period in contemporary craft by outlining the concerns of artists who explore the sculptural, visual, metaphorical, and creative potential of glass. Seen through the eyes of women, it reflects developments with the medium as an art material two and three decades after studio glass concepts were being implemented into university programs and contemporary practices. Notably, a portion of the gallery is dedicated to supporting materials, such as images, articles, and books, which offer a broader context for understanding the artists, medium, and field.Glass does not have a single history as it has been used in many different ways. Its usage in a decorative context still exists, but the twentieth century also saw the academic establishment of it as a viable art-making material. This exhibition includes various examples of work produced within the studio glass framework—as self-consciously made art reflecting artistic investigations of materials, processes, and ideas. Artists represented include Sonja Blomdahl, Kimiake Higuchi, Concetta Mason, Flo Perkins, Kari Russell-Pool, Ginny Ruffner, Acquaetta Williams, Ann Wolff, and Toots Zynsky. Expanding on the 2022 exhibition, this iteration also features examples from collaborative teams, such as John Littleton and Kate Vogel and Benjamin Edols and Kathy Elliott. These artists explore numerous topics, including identity, beauty, color, pattern, nature, abstraction, form, the figure, metaphor, process, and the properties and abilities of glass as a material. There is also a range of techniques represented, including blowing, lampworking, casting, fusing, carving, polishing, pâte de verre, assembling, and various surface treatments. In essence, the exhibition summarizes the experimental nature of the artists and studio glass in general. A critic of another recent all-female glass exhibition lamented about needing to draw attention to the fact that all of the artists were women—are they artists first or women first? These conversations can also be limiting as they sidestep more fluid gender dynamics. Yet, in this particular moment in time, it is indeed important to draw attention to components beyond the objects themselves. Who the makers are and how they move through the world influences the work even if it is not the identifiable subject matter. Image: Ginny RuffnerTempest in a Spoon&nbsp;from the&nbsp;Structuring Beauty Series, 1999Glass and enamel paintRacine Art Museum, Gift of Stanley and Evelyn AsraelPhotography: Jarvis Lawson

On Fire Part II: Surveying Women in Glass in the Late-Twentieth Century

City in a Garden: Queer Art and Activism in Chicago&nbsp;is an intergenerational group exhibition that highlights Chicago’s essential, yet often underacknowledged, role in the story of queer art and activism. The exhibition examines this history from the mid-1980s, when activists radically mobilized in response to the US government’s disastrous handling of the AIDS crisis. In this moment of change, activists reclaimed the historically pejorative epithet “queer” as a liberatory term, encompassing all who purposefully deviate from heteronormative society. Drawn from the MCA’s collection and other local collections,&nbsp;City in a Garden&nbsp;follows this paradigm shift in LGBTQ+ history by bringing together work from over 30 artists and collectives working in Chicago from the 1980s to the present.These artists address queerness through diverse media and methods: documenting clandestine queer spaces in photographs, creating sculptures that challenge normative depictions of gender and sexuality, and exploring queer intimacy through drawings, paintings, and videos.&nbsp;City in a Garden&nbsp;also features archival materials related to groups who innovatively combine artistic practices with their activism. The exhibition takes its title from Chicago’s official motto,&nbsp;Urbs in Horto, which translates to “city in a garden.” In the context of this presentation, this motto speaks to the exhibited artists’ and activists’ utopian visions of a metropolitan sanctuary for people of all races, genders, and sexualities. As queer people continue to fight for their lives and livelihoods under ongoing and renewed political threats, these visions remain as urgent today as ever.City in a Garden: Queer Art and Activism in Chicago&nbsp;is curated by Jack Schneider, Assistant Curator.

City in a Garden: Queer Art and Activism in Chicago

Dec. 13 – Jan. 30, 2026 CSI Project Space: Little, but Bold! CSI Member Benefit Art Auction

CSI Project Space: Little, but Bold! 

25 Years: Art + Design Alumni, 2000–2025, showcases the breadth of creativity and talent that emanates from the Department of Art + Design at Eastern Illinois University. As a quarter-century survey, the exhibition welcomes back former students and families to reflect on and celebrate what it means to have "bled blue"—on canvas, in the round, or anything in between or beyond—while inviting current and prospective students and community members to see what is possible after graduation.&nbsp;

25 Years: Art + Design Alumni, 2000–2025

Begins Dec 12: The Perpetual Feast, our third annual&nbsp;dinner party series

3rd Annual The Perpetual Feast

The exhibition showcases Lustig's multifaceted creative force spanning from childhood to the present day. The showcase includes drawing, painting, sculpture, and more. Highlights include her&nbsp;Surreal Tree Paintings, oil works revealing anthropomorphic qualities in nature; Abstract Illusion Paintings, spontaneous landscapes evoking music and motion; and&nbsp;Zofscape, a multimedia installation combining LED light sculptures, animated video, and original music composition.A graduate of California College of the Arts in Oakland, Lustig has built a remarkable career as a caricature artist, ceramic sculptor, mural painter, and puppet maker. Her work reflects the influence of Bay Area underground comics culture and the Chicago Imagist movement, blending whimsy with deeper commentary on contemporary life. Her signature Pop Surrealism style transforms ordinary subjects into dreamlike scenarios that are simultaneously playful and profound. About the artist:&nbsp;Ellen Lustig is a multi-faceted artist and composer working in variousmedia to create her dynamic installations. Ellen’s light sculptures are a fabrication of acrylic etchings enhanced by LEDs and music, producing what feels like an all-immersive voluminous 3d space. Her animation series includes digitally rendered passages that mimic the designs seen in her sculptures and also have the effect of an other-worldly landscape. A graduate of California College of the Arts in Oakland, California, Lustig has spent decades as a caricature artist, ceramic sculptor, mural painter, and puppet maker, creating unique pieces that are sought after nationwide. In addition to numerous one woman and group shows with her sculptures and paintings, she dedicates time by regularly teaching art to cancer patients and their families in hospitals and wellness centers such as Gilda’s Club of Chicago. Ellen can also be found playing blues keyboards at open mic nights in Chicago and the suburbs.Ellen Lustig's paintings are a collection of Pop Surrealism art. Her subject matter is forever transforming as she delves into toys, nature, and abstraction. The imagery in Ellen's paintings is a combination of whimsy, pop and realism. The subjects in her paintings also vary between baby boomer toys in uncanny situations, anthropomorphic trees, or quirky abstractions.Throughout Ellen's paintings including her early work, tree paintings, toy paintings or abstractions, Lustig creates a variety of subjects and styles. Her continuous theme is Pop Surrealism Art.The Pop Surrealism/Lowbrow art movement originated in the 1960's with hot rod culture and underground comics. It has evolved into a vilified, vital, and exciting art movement.Having been schooled in the Bay area for College, Ellen was definitely influenced by the comical area surrounding her. She then moved to Chicago where the Hairy Who and Imagists were prevalent in the art world which also had an effect on her subject matter. Lustig still resides in Chicago where she has made a lifelong career as a multimedia artist. Her work has been shown nationally in galleries and museums along with private collections. About the Ukrainian Institute of Modern Art:&nbsp;The Ukrainian Institute of Modern Art (UIMA) preserves and promotes contemporary art as a shared expression of the Ukrainian and American experience. UIMA develops, utilizes and encourages artistic talent through exhibitions, concerts, readings, lectures and films to serve the cultural needs of our community and city, and thereby strengthen cultural understanding and diversity. <ul><li>Artist Talk: Saturday, January 17, 1–2 pm</li></ul>

Ellen Lustig

Witches are guardians of suppressed forms of knowledge; they channel ancestral wisdom and embodied practices that have long been dismissed or feared. Visionary agents of transformation, spiritual practitioners conjure alternative futures through acts of resistance, imagination, and care.&nbsp;Witches, Bitches: Witchcraft as Empowerment&nbsp;explores the rise of the occult, new spirituality, and magic in contemporary culture, and reads it as a symptom of undergoing social transformations. Featuring contemporary artists who challenge dominant systems of patriarchy and colonialism to reclaim power on their own terms, this exhibition situates the practice of witchcraft into the past, present, and future acknowledging it as a form of feminist and political empowerment, and a radical proposition for a fully decolonial way of being.&nbsp;Witches, Bitches&nbsp;brings together works that engage with the iconography, stereotypes, and active practices of witchcraft to explore themes of spiritual power, collective energy,&nbsp;alternative cosmologies, and environmental consciousness. The exhibition features works spanning from the 1970s to the present by about thirty women-identifying international artists from different generations. Some of them self-identify with witchcraft or draw on practices of magic and spirituality, while others engage these themes through a critical and defiant lens. The exhibition will be accompanied by a robust public program including a talk series with public scholars and authors specializing in witchcraft, workshops in spell-casting with witchcraft practitioners, programming for families, performances, panel discussions with artists from different generations, and film screenings.&nbsp;Witches, Bitches: Witchcraft as Empowerment&nbsp;is co-curated by Ionit Behar, PhD, DPAM Curator, and Magdalena Moskalewicz, PhD, Chief Curator and Associate Director for Curatorial Affairs, Sheldon Museum of Art, and organized by DePaul Art Museum. Support for this exhibition is provided by The Andy Warhol Foundation for Visual Arts.&nbsp;More <a rel="noopener noreferrer" href="https://resources.depaul.edu/art-museum/exhibitions/Pages/witches-bitches-witchcraft-as-empowerment.aspx" target="_blank">Details</a> Image credit: Tirtzah Bassel,&nbsp;Four Sweepers of the Apocalypse,&nbsp;2025. Oil on canvas. 72 x 96 in. Courtesy of the artist.

Witches, Bitches: Witchcraft as Empowerment

Image: Herman Aguirre,&nbsp;¡Ni uno mas!, 2023, Oil and oil/acrylic skins on panel, 63" x 98" x 4.5"

Herman Aguirre

“Tengo Lincoln Park en mi corazón: Young Lords in Chicago” explores the Young Lords Organization's trajectory in the Lincoln Park neighborhood. Gentrification and urban renewal displaced the vibrant Puerto Rican community of the 1950s and 1960s. Originally a street gang, the Young Lords transformed into a prominent civil rights organization.&nbsp;<a rel="noopener noreferrer" href="https://click.agilitypr.delivery/ls/click?upn=u001.DMJAPtLMia7h-2FoQouHpZ7VucsQcy3YmuN9E-2BBveaH488JEjYiLL6gNNvfxkw-2FGqyXcJ0Mk6-2BmX21J9JiYsIHXzENjzM2kQUb5rLOElK1dhV69SYpdTqREc3e7jN4PgfJPYhyLo7-2BAld1-2FJUzovRT1g-3D-3DuNLS_0g5QiKQ3ANfCkWXxwzczn1phIok0-2FnBF8GNWXrNhq2-2B4ftGj9DI8Jn4AfRAGeAJVr5d8tZaUkO86wELMDcgOg2JJnq4MYeWc7vJT8UFoP9JB4ktPrjnyT0Q-2FgJDbrrl4gKCk3EQ7EQCKK7Y-2B8HvMMN5HreRSKCKXooND8rxLMCbg-2B05tGi82LGb3OISpzjoVvNgw2sPbWSU7IbcWae7HM9JoWTFkwW5YoLJI26ngy3AkfG50sS15PTIRzqm6Xq8xg4JTDnNCSo49XfmFsOiKdBMTb1it82ohrC8v4yi79AI-2Feu-2FfnhrSxpeKJACjPI33Ac6lAR9ifJFK0op4yLggtB7tMaRoR5VfNcuQixNIBNkVp59o7I5P2w57eXAwKl052-2FXVJz-2FJ0MmeAsEo-2FxV1a7CKY8uui3w612dejPzEw-2BTQSuMdoVcWV0e5bKErNGydSEd4FTVtC-2B4i2SFYXlasyXoiAaC8IqnO6QOzviL41Kc-3D" target="_blank">Curator and faculty member Lazú</a>&nbsp;is recognized as a leading scholar of the Young Lords Organization and helped establish<a rel="noopener noreferrer" href="https://click.agilitypr.delivery/ls/click?upn=u001.DMJAPtLMia7h-2FoQouHpZ7V-2BNjmn91WVUUN2-2Fz4l6r58oGmh5RnBYP1-2BidTW12IE5zDqc1VXBwp11yHHAQUpxiOw6A8kd7Aa-2FmNXcX27Ibv0-3Drbby_0g5QiKQ3ANfCkWXxwzczn1phIok0-2FnBF8GNWXrNhq2-2B4ftGj9DI8Jn4AfRAGeAJVr5d8tZaUkO86wELMDcgOg2JJnq4MYeWc7vJT8UFoP9JB4ktPrjnyT0Q-2FgJDbrrl4gKCk3EQ7EQCKK7Y-2B8HvMMN5HreRSKCKXooND8rxLMCbg-2B05tGi82LGb3OISpzjoVvNgw2sPbWSU7IbcWae7HM9JoWTFkwW5YoLJI26ngy3AkfG50sS15PTIRzqm6Xq8xg4JTDnNCSo49XfmFsOiKdBMTb1it82ohrC8v4yi79AI-2Feu-2FfnhrSxpeKJACjPI33Ac6lAR9ifJFK0op4yLggtDIbp275btVB9OOkgETcHRh-2Fr1dH1NQcsk5j2s5jnl-2ByFsavGAbC6Krxq6psExt846nJXS1P1TcvF9H1bxgytih1OqQvWLHaVyrV5Ugxhon5ZOGg7-2BG3qee5-2FJTEqfxaoLqhfwQVnAMZ6YByWfds2hA-3D" target="_blank">&nbsp;DePaul's Young Lords special collections archive</a>&nbsp;as a destination of study on social movements.&nbsp;The exhibition explores the origins of the movement, emphasizing the concept of counter-mapping as a means of activism and community empowerment. Counter-mapping is a mapmaking approach that challenges narratives upheld by traditional maps, representing elements of a place that may have been overlooked or intentionally erased.The exhibition features archival materials, historical artifacts, photography, murals and prints, with works by Carlos Flores, Ricardo Levins Morales and John Pitman Weber. It also includes newly commissioned work by Sam Kirk and a central multimedia installation by Arif Smith with Rebel Betty, inviting visitors to engage with one of the most influential movements in Latinx civil rights history, rooted in the everyday struggles of a Chicago neighborhood."Tengo Lincoln Park en mi corazón confronts the erasure of the spaces that gave rise to the Young Lords’ fight for justice,” said Lazú. “These works reclaim that ground, making visible the neighborhood that shaped the movement and insisting that its memory of struggle and community endures."&nbsp;﻿Image credit: A member of the Young Lords writes in chalk as a family looks on during a Puerto Rican heritage festival at the Armitage Methodist Church, 1969. ST-40001976-0057, Chicago Sun-Times collection, Chicago History Museum.

Tengo Lincoln Park en mi corazón: The Young Lords in Chicago

Iñigo Manglano-Ovalle’s (b. 1961) current practice creates objects that blur the line between art and utility, ultimately inviting viewers to meditate on the role and “usefulness” of art in society. His approach challenges notions of function, beauty, and purpose in art by making works that resemble utilitarian objects but often serve no conventional practical purpose—or, alternatively, reveal surprising functionality that critiques broader sociopolitical or environmental concerns. One could say that Manglano-Ovalle has a phenomenological practice (the study of how we experience things through our senses and perceptions)—he places profound importance on the viewer’s sensory and intellectual experience, emphasizing how art can engage the body and mind in ways that go beyond representation.&nbsp;Manglano-Ovalle’s solo exhibition at DePaul Art Museum&nbsp;presents site-specific works that are both familiar and opaque, encouraging viewers to confront ambiguity and engage in deeper contemplation. Our experiences are never predetermined; they exist at the intersection of the private and the public, the personal and the shared. However deeply felt, they are also open to examination. Manglano-Ovalle’s work calls us to inhabit the present moment fully, urging us to consider: How does the work draw us in, and how do we, in turn, respond to it—right here, right now?&nbsp;Iñigo Manglano-Ovalle’s exhibition is curated by Ionit Behar, PhD, and organized by DePaul Art Museum.&nbsp; Image credit: Iñigo Manglano-Ovalle, Untitled, 2023. Pine and graphite. Courtesy of the artist.&nbsp;

Iñigo Manglano-Ovalle: A Want for Nothing

<a rel="noopener noreferrer" href="https://www.newberry.org/calendar/mapping-outside-the-lines" target="_blank">Details</a> Lines are foundational to how maps communicate. They guide you home from a new restaurant, tell you how tall a mountain is, and warn you not to stray too far in the wrong direction. They sometimes even tell you about the life a map has lived. Over centuries, mapmakers have developed (and abandoned) an amazing variety of ways to use lines to bring our world to life. This exhibition follows lines on maps to their extremes in examples from mundane textbooks to avant-garde art. Through these lines, maps rationalize their world view, even as they reveal perspectives that are neither universal nor neutral. Mapping Outside the Lines&nbsp;is generously supported by Rand McNally. <h3>Curator</h3>David Weimer, Robert A. Holland Curator of Maps and Director of the Hermon Dunlap Smith Center for the History of Cartography <h3>Exhibition-Related Programming</h3> Public Programs at the Newberry&nbsp;are free and open to all. Registration required in advance. <a style="color: rgb(91, 92, 87);" rel="noopener noreferrer" href="https://www.newberry.org/calendar/folded-map-project" target="_blank">Folded Map™ Project Screening and Discussion, November 6, 5:30pm</a>Join us for a screening of&nbsp;Folded Map™ Project – The Movie&nbsp;followed by a discussion led by Tonika Lewis Johnson. <a style="color: rgb(91, 92, 87);" rel="noopener noreferrer" href="https://www.newberry.org/calendar/mapping-migrations" target="_blank">Mapping Migrations, November 15, 11am</a>Artist, Sandy Rodriguez, and Newberry Curator of Maps, David Weimer, will lead an artmaking workshop exploring how you can repurpose maps to make your own map of Chicago. <h3>Exhibition-Related Adult Education</h3> Adult Education classes at the Newberry&nbsp;require registration in advance and a modest fee. <a style="color: rgb(91, 92, 87);" rel="noopener noreferrer" href="https://www.newberry.org/calendar/how-maps-work" target="_blank">How Maps Work, four sessions, starting November 4, 2pm</a>Taught by David Weimer, this class will trace the development of maps and mapping in Europe and the Americas by looking at what, at different points in the last 500 years, has made a map a map. In conjunction with the exhibition, we will engage with some contemporary artists’ work with maps to think about why maps continue to matter to us in the digital age.

Mapping Outside the Lines

Kim Storage Gallery is pleased to present Balance a solo exhibition featuring Chicago artist Susan Hall. Her oil paintings reverently explore nature. Hall’s animal subjects —often deer, birds, rabbits, and other woodland creatures — are rendered with the gravity and presence of portraiture. Sometimes a human figure joins the animal in quiet communion. A lace or crochet pattern runs throughout many of her pieces, veiling the subject to create a dreamlike atmosphere while also suggesting a delicate connection. Hall’s work is informed by meditations on coexistence, vulnerability, and the powerful harmonies that sustain the natural world. Susan Hall was born in Ann Arbor, Michigan, and has been a Chicago area resident since 1993. She has exhibited her work throughout the United States, including shows at Lyonswier Packer Gallery in New York City, Thomas Masters Gallery in Chicago, and Butters Gallery in Portland, Oregon. Her honors include an Illinois Arts Council grant, a Georgia Council for the Arts grant, and Best in Show at the Chicago Anti-Cruelty Society's Animal Images exhibition juried by Ed Paschke. Hall received her MFA from the University of Georgia and her BA from Connecticut College.

Susan Hall: Balance

Carnival&nbsp;brings together a new body of work by&nbsp;Vesna Jovanovic, inspired by her interest in medieval French&nbsp;carnivals&nbsp;and other festivals from around the world in which social ranks and identities are ignored and concealed, allowing participants to connect through food, dance, laughter, and sexual expression. In the group of paintings exhibited, all created in the past three years, the artist playfully renders invented spaces in which the body is both setting and subject—collapsed into unexpected relationships with objects that bring joy and pleasure. Jovanovic’s process begins by pouring diluted ink onto sheets of Yupo (a synthetic paper made of polypropylene). Once the ink is dried, the artist responds to the texture by painting candy, sparklers, confetti, sex toys, jingles, and much more across the fleshy surfaces–prioritizing relationships that evoke attraction, repulsion, laughter, and recognition. Eye of Providence, 2025, Ink, vinyl paint, and acrylic pen on polypropylene, 60 x 60 inches.

Vesna Jovanovic: Carnival

"Sabina Ott: all this and not ordinary" is the first solo exhibition of the artist’s work since her death in 2018, presenting 33 works created in the final years of her career. The exhibition’s title is drawn from a poem in Gertrude Stein’s "Tender Buttons" (1914), a text that remained a pivotal source of inspiration for Ott throughout her life. Employing materials such as polystyrene and spray foam, Ott transformed the ordinary into the extraordinary, constructing works of art that are at once imaginative and dreamlike. For Ott, art offered a space of transformation, a means of turning trauma inside out and reshaping it into forms of play and wonder. This exhibition highlights the depth of her experimental practice and affirms her enduring legacy as an artist who expanded the possibilities of material and meaning.

Sabina Ott: all this and not ordinary

Opening at the Racine Art Museum (RAM) on March 12, 2025,&nbsp;<a style="color: rgb(247, 143, 57);" rel="noopener noreferrer" href="https://link.mediaoutreach.meltwater.com/ls/click?upn=u001.lVpDCVeqdBsS0YynwBNnWsI6uzjI-2B9jc-2BcioV3sOeK-2FjDPvzcE-2F0N1PM-2BTx4Y3zd7FZ-2Bd1Ua-2FLcgXQzE0mtRbw-3D-3D_2Re_a1zzESVdmgLIQ4rlql6kbXT9QXaGGWYBxHAPtO1QqWO5GLp4idxebnEhHBD62PapFGhVibvX636tV4VNXI9Yc1fC3t6I93nvs128KylNuVSG4w8b6TD-2BSQhnOlpvnvnpFtzUMvSCikhZbhybTpfD-2B0ndfu50xgxCFjZQzQqK1fOcTlhX-2BRrO0O4nAgDPUkTGaehksClVOLINAXSjtnUzXR8ZKWwGh0QTjvG3iPLVYcP1XK0LCRdt1sQ26HiP09DlJp7-2BEeaYHrmf0yLvpEVBeX27-2Bo4o3I15g1nbUfpCnnAFVTVTkMvPT9eRTmr7HrsmEnIs7xUu4UKb0NikvQZYBcM7YnX8adZ3hMT5S-2FGRV2eXnUDwiTvGWMtJfSk2gec7x5dVdBaKQpeUrJDHQPJFhg-3D-3D" target="_blank">RAM Showcase: Bodies</a>&nbsp;features works created from clay or washi paper that explore the human body as form and content. This exhibition will remain on display through February 21, 2026.The human figure is often used to tell stories, symbolize existence, and represent the human condition. Featuring works from RAM’s collection,&nbsp;RAM Showcase: Bodies&nbsp;reflects people’s desire to study, analyze, and respond to the notion of the human body, with pieces on display that underscore the enduring artistic interest in the body as subject. The&nbsp;<a style="color: rgb(247, 143, 57);" rel="noopener noreferrer" href="https://link.mediaoutreach.meltwater.com/ls/click?upn=u001.lVpDCVeqdBsS0YynwBNnWsI6uzjI-2B9jc-2BcioV3sOeK9KXaQ6SLoxPqPiJ1ykV514-2B1mdaYq5n3BVmc6w-2B-2FQgWQ-3D-3Df65z_a1zzESVdmgLIQ4rlql6kbXT9QXaGGWYBxHAPtO1QqWO5GLp4idxebnEhHBD62PapFGhVibvX636tV4VNXI9Yc1fC3t6I93nvs128KylNuVSG4w8b6TD-2BSQhnOlpvnvnpFtzUMvSCikhZbhybTpfD-2B0ndfu50xgxCFjZQzQqK1fOcTlhX-2BRrO0O4nAgDPUkTGaehksClVOLINAXSjtnUzXR8ZKWwGh0QTjvG3iPLVYcODwwQL4fAtoF-2Fq7rWfMz4fjDbJH6uf8-2BsEl7BV4h2Gv7UTGoLpb8LGW7ObuWGLPZzA2KwFMqauzqimyjGEyNVrI-2Bb9eBa6z-2B5RT5h4d-2Bqaysd-2Bh1Dnn72ToJnaCvH1mJcLs6EAPT-2BTclF92v-2BlNnPF0uVT7slnEOdQZbLt-2BmZVvA-3D-3D" target="_blank">RAM Showcase&nbsp;exhibition series</a>&nbsp;at RAM and its second campus, RAM’s Charles A. Wustum Museum of Fine Arts, focuses entirely on the work of contemporary artists of color. The fact that all of the works in&nbsp;RAM Showcase: Bodies&nbsp;were made by artists of color is a significant additional layer to the subject matter and ways it is depicted. This distinction is critical for some contemporary artists of color, as their work adds narratives to art histories that generally marginalized or excluded them.Individually, the artists represented in this exhibition explore a wide range of issues, including social and cultural dynamics, the sensual body, emotions, the connection between human beings and animals, history, and relationships between duality and otherness. Sometimes self-portraits, sometimes not, the subjects portrayed are envisioned or recorded through flat, drawn images or sculpted forms and reflect vibrant voices and engaging perspectives. Exhibitions at Racine Art Museum are made possible by:&nbsp;Platinum Partners—The Estate of Karen Johnson Boyd, David Charak, Judith and David Flegel Fund, Ron and Judith Isaacs, Racine Community Foundation, United Way of Racine County, Windgate Foundation;&nbsp;Diamond Partners—Ruffo Family Foundation, Ruth Arts Foundation, Diane Zebell;&nbsp;Gold Partners—Anonymous, A. C. Buhler Family, Robert E. Kohler Jr. Fund, Osborne and Scekic Family Foundation, Reliance Controls, Trio Foundation of St. Louis, W.T. Walker Group, Inc., Wisconsin Arts Board;&nbsp;Silver Partners—Anonymous, Sandy and Gus Antonneau, Baird, Lucy G. Feller, Ben and Dawn Flegel, Sharon and Tom Harty, Dave and Judy Hecker, Paula Kalke, Horizon Retail Construction, Inc., Johnson Financial Group, Lang Family Foundation, Dorothy MacVicar, Jan Serr &amp; John Shannon, Sandra Shove, Willard and Mary Walker;&nbsp;Bronze Partners—Carol Baylon, Rose and Peter Christensen, Dave’s Wine Garage, Educators Credit Union, Patricia and Richard Ehlert, Express Employment Professionals, Deborah Ganaway, Carol Griseto, Hitter’s Baseball, SC Johnson, Bill and Debbie Keland, Nancy and Nick Kurten, Susan Manalli, Norbell Foundation, JoAnna Poehlman, Rasmussen Diamonds, Harold and Lois Solberg, Kathy Stanghellini, Tito's, Twin Disc, Janna Waldeck, Barbara Waldman;&nbsp;Media Sponsor—Radio Milwaukee. The two campuses of the Racine Art Museum—RAM in downtown Racine at 441 Main Street and the Charles A. Wustum Museum of Fine Arts (Wustum) at 2519 Northwestern Avenue—are located in Racine, Wisconsin, a historic community on the shores of Lake Michigan. RAM is home to the largest contemporary craft collection in North America and has a reputation for its award-winning architecture and nationally recognized exhibition program. Wustum is home to the organization's diverse, award-winning art education programs and has presented significant art exhibitions since 1941. Both campuses of the Racine Art Museum are currently open Wednesday through Saturday from 10:00 am to 4:00 pm. Admission rates are $10 for adults; $8 for students, seniors (62+), and veterans; and free for RAM members, children under 12, active military personnel, and NARM, ROAM, and AAM members.

RAM Showcase: Bodies

The Museum of Contemporary Art (MCA) Chicago&nbsp;will become the&nbsp;exclusive U.S. venue for "Yoko Ono: Music of the Mind,"&nbsp;a comprehensive solo exhibition dedicated to the artist, musician, and activist Yoko Ono (b. 1933, Tokyo, Japan; currently residing in New York, NY),&nbsp;opening in October 2025.Traveling from Tate Modern in London, where it achieved record-breaking attendance, and developed in close collaboration with Ono’s studio, this&nbsp;groundbreaking retrospective spans seventy years&nbsp;of Ono’s innovative&nbsp;career. The&nbsp;exhibition features over 200 works, including participatory instruction pieces and scores, installations, a curated music room, films, music, photography, and archival materials.The exhibition highlights&nbsp;significant works from throughout Ono’s decades-long career, including the landmark performance piece "Cut Piece"&nbsp;(1964), a foundational work in performance and feminist art; her&nbsp;collaborations&nbsp;with&nbsp;prominent musicians&nbsp;such as&nbsp;John Cage,&nbsp;Ornette Coleman, and her late husband,&nbsp;John Lennon; selected activations of instruction-based artworks from her influential book&nbsp;"Grapefruit"(1964); innovative films from the 1960s and 1970s such as&nbsp;"FLY" (1970–71) and the once-banned "Film No.4 (Bottoms)"&nbsp;(1966–67), which she created as a "petition for peace"; recent works like her ongoing installation "Wish Tree" (1996–present); and public artworks emblematic of Ono’s enduring commitment to peace activism.On Saturdays, Sundays, and select Tuesdays throughout the full run of&nbsp;<a rel="noopener noreferrer" href="https://visit.mcachicago.org/exhibitions/yoko-ono-music-of-the-mind/" target="_blank">Yoko Ono: Music of the Mind,</a>&nbsp;performers from all walks of life will activate Ono's deceptively simple "event scores" from her groundbreaking 1964 book&nbsp;Grapefruit. <a rel="noopener noreferrer" href="https://visit.mcachicago.org/events/tca-zinefest-2025-the-power-of-prints/" target="_blank">Teen Creative Agency | Zine Fest 2025: The Power of Prints</a>Museum of Contemporary Art ChicagoDec 20, 2025 | 1–6 pmThe MCA’s&nbsp;<a rel="noopener noreferrer" href="https://mcachicago.org/learn/youth/tca" target="_blank">Teen Creative Agency (TCA)&nbsp;</a>is celebrating fourteen years (and counting) of DIY publications by teens! This event showcases the original artwork, activism, and social practice of Chicago-area youth in zine form. Join the Museum of Contemporary Art’s Teen Creative Agency for an afternoon of events and activities highlighting the past, present, and future of print making by Chicago teens. Visitors are invited to participate in activities organized by the TCA, such as zine making and on-site merch giveaways. <a rel="noopener noreferrer" href="https://visit.mcachicago.org/events/six-scores-for-yoko-ono/" target="_blank">Six Scores for Yoko Ono</a>Kovler AtriumNov 4, 2025 | 6 pmExperience the musical context of Yoko Ono’s early work with performances of five 1960s scores—by Mieko Shiomi, Nam June Paik, Takehisa Kosugi, and George Maciunas—and a new commission by MCA Chanel Fellow, Andrew Hansung Park. The performances track the destruction of a violin, smashing boundaries between everyday sound and music. The&nbsp;<a rel="noopener noreferrer" href="https://visit.mcachicago.org/introducing-the-mca-dna-research-initiative" target="_blank">MCA DNA Research Initiative</a>&nbsp;is a multi-year curatorial program, supported by the CHANEL Culture Fund, that invites early-career curators and writers to the museum for interdisciplinary research projects related to the institution’s collection. Focused on the intersection of visual art and performance, this initiative surfaces overlooked art historical narratives within the organization’s history while foregrounding the cross-disciplinary ethos that has been integral to the museum since its founding in 1967.Image: Yoko Ono with&nbsp;Glass Hammer, 1967, from&nbsp;Half-A-Wind Show, Lisson Gallery, London, UK, 1967. Artwork © Yoko Ono. Photo © Clay Perry.

Yoko Ono: Music of the Mind

Smart to the Core: Wise to Power examines questions about the formation of political communities, the organization of economic lives by political society, and individual navigation of society. The exhibition integrates visual art with foundational texts of modern social and political thought spanning nearly four centuries. It addresses themes familiar yet deeply connected to specific political, economic, and cultural histories. Wise to Power is the fourth installment of “Smart to the Core,” a series fostering collaboration with the University of Chicago’s Core undergraduate curriculum and exploring the role of art across disciplines. The exhibition is drawn primarily from the permanent collection and organized by the Smart’s Feitler Center for Academic Inquiry with UChicago’s Social Sciences Core, “Power, Identity, Resistance.” Support is provided by the Smart Museum’s Andrew W. Mellon Foundation Endowment, Feitler Center for Academic Inquiry Fund, and SmartPartners, with special thanks to Jack Shainman Gallery and The Hanna Holborn Gray Special Collections.

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