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

Marking his fifth presentation with the gallery and his second solo exhibition in Chicago, Jiménez (b. 1990 in Hawaii; lives and works in Mexico City, Mexico) turns to a personal narrative rooted in Puerto Rico, tracing the histories, memories, and inherited silences that have shaped his understanding of family and identity.Through painting, collage, drawing, and sculpture, the orange emerges as a recurring motif and metaphor. It evokes the sweetness and abundance of family histories, but also the omissions, secrets, and unresolved tensions that pass from one generation to the next. Like the fruit itself, lineage carries both nourishment and decay. Beneath its vibrant skin lies stories that shape a family's character and flavor, revealing how memory—and the spaces where memories falter—becomes embedded within the narratives we inherit. Clotilde Jiménez, China de Mayagüez, 2026. Detail. Courtesy of the artist and Mariane Ibrahim.

Clotilde Jiménez: Eramos Silencios

Brendan Fernandes&nbsp;is an internationally recognized,&nbsp;multidisciplinary artist&nbsp;who&nbsp;examines issues of cultural displacement, migration, labor, and queer subjectivity through installation, video, sculpture, and dance. He is invested in confronting the complexities of transitional and transnational identities, with a particular interest in incorporating elements of cultural performance into contemporary art, arising from his unique cultural background as a Queer, Kenyan Indian Canadian. &nbsp;Fernandes’&nbsp;projects address issues of race, queer culture, migration, protest, and other forms of collective movement. Always looking to create new spaces and new forms of agency,&nbsp;his&nbsp;projects take on hybrid forms: part Ballet, part queer dance party, part political protest...&nbsp;always rooted in collaboration and fostering solidarity.  &nbsp;Fernandes (b.1979, Nairobi, Kenya) attended York University for his Bachelors (hons.) and is a graduate of the Whitney Independent Study Program (2010).&nbsp;He is currently an Assistant Professor at Northwestern University, Evanston, IL. &nbsp;Selected solo presentations include&nbsp;the Museum of Contemporary Art Denver, Denver, CO (2024);&nbsp;Susan Inglett Gallery, New York, NY (2023);&nbsp;The Barnes Foundation, Philadelphia, PA (2023);&nbsp;Lurie Garden at&nbsp;Millennium&nbsp;Park, Chicago, IL (2022); The Richmond Art Gallery, Richmond, BC (2022); The Art Gallery in Ontario, Toronto, ON (2021); Chrysler Art Museum, Norfolk, VA (2020);&nbsp;moniquemeloche&nbsp;(2019); Museum of Contemporary Art, Chicago, IL (2019); The Smithsonian American Art Museum, Washington, DC (2019); The Guggenheim Museum, New York, NY; and DePaul University Art Museum, Chicago, IL (2018).&nbsp;His projects have been featured in the 2019 Whitney Biennial, New York, NY; the Solomon R. Guggenheim Museum, New York, NY, New York; the Museum of Modern Art, New York, NY; The Getty Museum, Los Angeles, CA; the National Gallery of Canada, Ottawa,&nbsp;ON;&nbsp;Art Gallery of Ontario, Toronto, ON;&nbsp;Fabric Workshop and Museum, Philadelphia, PA;&nbsp;and The Kalamazoo Institute of Arts, Kalamazoo, MI, among many others.&nbsp;Recent projects include performances and solo presentations at the&nbsp;Pulitzer Arts Foundation, St. Louis, MO; Prospect.6, New Orleans, LA;&nbsp;Remai Modern, Saskatoon, CA;&nbsp;Munch Museum, Oslo, Norway; a collaboration with Danish National Radio, Copenhagen, Denmark, a group show at the National Gallery of Canada in Ottawa,&nbsp;and a two person show at Mass MoCA, North Adams, MA. In 2024, Fernandes debuted&nbsp;Build of the House&nbsp;for ART on THE MART, which traveled to Times Square Arts’ Midnight Moments.&nbsp;&nbsp;Public collections include&nbsp;the&nbsp;National Museum of&nbsp;African&nbsp;Art, Smithsonian, DC;&nbsp;Museum of Contemporary&nbsp;Art, Chicago, IL;&nbsp;Remai&nbsp;Modern, Saskatoon, CA;&nbsp;The&nbsp;Museu&nbsp;de&nbsp;Arte de São&nbsp;Paulo, BR;&nbsp;Nelson-Atkins Museum, Kansas City, MO;&nbsp;DePaul University Art Museum, Chicago, IL;&nbsp;Block Museum of&nbsp;Art&nbsp;at Northwestern University, IL;&nbsp;The National Gallery of Canada, Ottawa, CA;&nbsp;Musée&nbsp;des&nbsp;Beaux-Arts de Montréal, QC;&nbsp;Crysler&nbsp;Museum of&nbsp;Art, Norfolk, VA;&nbsp;The Joyner/Giuffrida&nbsp;Collection of&nbsp;Abstract&nbsp;Art, San Francisco, CA;&nbsp;Museum of Contemporary&nbsp;Art, University of Massachusetts,&nbsp;Amherst, MA;&nbsp;and the Wedge Collection, Toronto, ON.&nbsp;Fernandes is a recipient of a Robert Rauschenberg Fellowship. In 2010, he was shortlisted for the Sobey Art&nbsp;Award, and&nbsp;is the recipient of a prestigious Canada Council New Chapters grant (2017), the&nbsp;Artadia&nbsp;Award (2019), a Louis Comfort Tiffany Foundation grant (2019), and a Smithsonian Artist Research Fellowship (2020).&nbsp;Fernandes currently lives&nbsp;and works&nbsp;in Chicago, IL. &nbsp;

Brendan Fernandes

Please join for an opening reception for&nbsp;<a href="https://www.oliviazubko.com/" rel="noopener noreferrer" style="color: rgb(0, 0, 255);" target="_blank">Olivia Zubko’s</a>&nbsp;first show at Western Exhibitions, on Friday, September 18, 5 to 8pm. More information to come.Image: Cairn III , 2025, Stained porcelain. 16h x 6 1/2w x 6 1/2d in

Olivia Zubko 

&nbsp;<a href="https://www.hydeparkart.org/" rel="noopener noreferrer" target="_blank">Hyde Park Art Center</a>, the renowned non-profit hub for contemporary art located on Chicago’s vibrant South Side, announces&nbsp;Ground Floor, the ninth iteration of the Art Center’s biennial program showcasing select work by recent graduates from each of Chicago’s five MFA (Master of Fine Art) programs, on view from&nbsp;August 9 – November 1, 2026.&nbsp;The exhibition opens on the Art Center’s quarterly open house day,&nbsp;Center Day, with free public programs including artmaking from&nbsp;1-4 p.m.The exhibition offers a single destination to view some of Chicago’s most promising emerging talent who graduated in 2025-26 from one of Chicago’s five MFA programs: Columbia College Chicago, Northwestern University, The School of the Art Institute of Chicago, The University of Chicago, and The University of Illinois at Chicago. Artists represented in&nbsp;Ground Floor&nbsp;include&nbsp;<a href="http://lamiaabukhadra.com/" rel="noopener noreferrer" target="_blank">Lamia Abukhadra</a>,&nbsp;<a href="http://gabriellebanks.co.uk/" rel="noopener noreferrer" target="_blank">Gabby Banks</a>,&nbsp;<a href="http://claireburkedain.com/" rel="noopener noreferrer" target="_blank">Claire Burke Dain</a>,&nbsp;<a href="https://ricardodelima.org/" rel="noopener noreferrer" target="_blank">Ricardo De Lima</a>,&nbsp;<a href="http://emmadifani.com/" rel="noopener noreferrer" target="_blank">Emma Difani</a>,&nbsp;<a href="https://naakitafk.com/" rel="noopener noreferrer" target="_blank">naakita f.k.</a>,&nbsp;<a href="https://aidanannefrierson.com/" rel="noopener noreferrer" target="_blank">Aidan Anne Frierson</a>,&nbsp;<a href="http://www.laveengammie.com/" rel="noopener noreferrer" target="_blank">Laveen Gammie</a>,&nbsp;<a href="https://laurelhauge.com/" rel="noopener noreferrer" target="_blank">Laurel Hauge</a>,&nbsp;<a href="http://lianghestudio.com/" rel="noopener noreferrer" target="_blank">Liang He</a>,&nbsp;<a href="http://xingyuhuang.com/" rel="noopener noreferrer" target="_blank">Xingyu Huang</a>,&nbsp;<a href="http://susanjablonski.com/" rel="noopener noreferrer" target="_blank">Susan Jablonski</a>,&nbsp;<a href="https://yingfeiliang.wixsite.com/fayeliang" rel="noopener noreferrer" target="_blank">Faye Yingfei Liang</a>,&nbsp;<a href="https://mauriciolopezf.com/" rel="noopener noreferrer" target="_blank">Mauricio López F.</a>, Isaiah McDaniel,&nbsp;<a href="http://tepalandjian.com/" rel="noopener noreferrer" target="_blank">Te Palandjian</a>,&nbsp;<a href="http://www.breannarobinson.studio/" rel="noopener noreferrer" target="_blank">Breanna Nannette Robinson</a>,&nbsp;<a href="http://reneeroyale.com/" rel="noopener noreferrer" target="_blank">Renee Royale</a>,&nbsp;<a href="https://kianashahnia.com/" rel="noopener noreferrer" target="_blank">Kiana Shahnia</a>,&nbsp;<a href="http://nanakokono-rolly.com/" rel="noopener noreferrer" target="_blank">Nanako Wagley</a>, and&nbsp;<a href="https://www.judsonwomack.com/#1" rel="noopener noreferrer" target="_blank">Judson Womack</a>.Ground Floor&nbsp;presents the work of select graduates made in the past two years to articulate conceptual and stylistic trends coming out of Chicago art schools right now. Their modes of making range the full spectrum in media, from painting and printmaking to film and sculpture.&nbsp;The artists share their excitement about the opportunity and why it is meaningful at this moment in their practices: "Over the years, I’ve known many artists whose careers and practices have been deeply impacted by this exhibition, and I’ve always seen it as an incredible resource and opportunity for artists navigating life after graduate school. I’ve been connected to the Art Center in many ways—as a South Sider, a visitor, an artist, and coordinator of the Center Program—long before this exhibition. To now have the honor of exhibiting my own work alongside so many other artists feels like a homecoming moment," says&nbsp;Aidan Anne Frierson.&nbsp;And&nbsp;Emma Difani&nbsp;shared: “While graduate school was a period of tremendous growth, it was also a bit of a bubble. This is an exciting opportunity to build relationships outside of the academic setting in a place for art-as-lived that celebrates artists of all ages and stages.”&nbsp;Xingyu Huang&nbsp;said, “For me, this opportunity to show my work on the building facade is an invitation to reimagine the boundaries we build between ourselves and the living world. My work challenges the idea that urban environments and ecological processes are separate by bringing attention to aquatic systems within exhibit spaces. It’s incredibly exciting to create a space at HPAC where audiences can physically confront these invisible, shared dependencies and realize we are entirely continuous with our environment.”The exhibition opening day overlaps with the summer installment of the Art Center’s quarterly series&nbsp;Center Day, an all-ages program offering free public access to art viewing and artmaking, from&nbsp;1-4 p.m.&nbsp;The August 9 programming includes exhibition receptions for three exhibitions (Jeff Carter: The Singer Pavilion Project&nbsp;and&nbsp;OFF THE WALL!, in addition to&nbsp;Ground Floor) from 1-4 p.m., a mural workshop from 1-4 p.m., Chicago Housing Authority mural unveiling from 1-1:30 p.m., a teen artist panel from 1:30-2 p.m., a basket weaving workshop led by Art Center resident artist ebere agwuncha from 1-3 p.m., and open studios from 1-4 p.m. with resident artists (ebere agwuncha, Carlos Flores, Cydney M. Lewis, Pooja Pittie, Fidencio Fifield-Perez, Anwulika Anigbo, D. Lammie-Hanson, Jess Atieno, Laveen Gammie, and Tongji Philip Qian). About Ground Floor 2026Ground Floor—so named because it provides a crucial platform for rising artists and traverses the entire lower level of the Art Center—gives exhibiting artists a major public venue in which to display their works at a critical juncture in their careers, helping to build, support, and ensure a strong and vibrant community of artists in Chicago.The 21 artists in the exhibition were selected by the Art Center’s&nbsp;Ground FloorSelection Committee from a competitive pool of applicants who were nominated by respected Chicago-based artists, curators, and administrators. The 2026 jury committee includes nationally and internationally renowned artists, curators,&nbsp;and educators Cecilia Beaven, Amber Ginsburg, Sherwin Ovid, Lorelei Stewart, and Jade Yumang. The exhibition is curated by Director of Exhibitions and Residency, Mariela Acuña, and Exhibitions and Residency Manager, Tran Tran. The exhibition is enriched with further insight into these artists’ practices by didactic text by writer and curator Nicky Ni. A few notable Ground Floor alumni include Jonathan Castillo, Hai-Wen Lin, Tony Lewis, Maria Gaspar, Norman Teague, and Melissa Leandro.This exhibition is generously supported by the Andy Warhol Foundation for the Visual Arts, Illinois Arts Council, and The Joyce Foundation. ABOUT THE HYDE PARK ART CENTERHyde Park Art Center, at 5020 South Cornell Avenue on Chicago’s vibrant South Side, is a hub for contemporary arts in Chicago, serving as a gathering, production, and exhibition space for artists and the broader community to cultivate ideas, impact social change, and connect with new networks. Since its inception in 1939, Hyde Park Art Center has grown from a small collective of artists to establishing a strong legacy of risk-taking and experimentation, emerging as a unique Chicago arts institution with social impact. Today, the Art Center offers a diverse suite of programs for artists and art lovers of all backgrounds, ages, and stages in their careers including: contemporary art exhibitions in six galleries; open-access community-based school with 2,000 annual enrollments; weekly arts education to 1,000 elementary school students in public schools; weekly and summer teen programs for 100 teen artists; professional-advancement programs for artists; a local and international artist residency; and public programs that connects residents with Chicago art and artists. The Art Center’s Oakman Clinton School + Studio is the nation’s first fully contribute-what-you-can visual art school for all ages. The Art Center functions as an amplifier for creative voices of today and tomorrow, providing the space to cultivate new work and connections.For more information, please visit&nbsp;<a href="https://www.hydeparkart.org/" rel="noopener noreferrer" target="_blank">www.hydeparkart.org</a>.

Ground Floor

One of only two Chihuly exhibitions in the world in 2026,&nbsp;CHIHULY at Meijer Gardens Presented by Macatawa Bank&nbsp;is a major exhibition of international significance. The experience spans both the outdoor gardens and indoor Sculpture Galleries, creating a dynamic dialogue between glass, landscape, and architecture.&nbsp;Outdoors, guests will encounter monumental glass sculptures, vibrant&nbsp;Reeds, and striking site-responsive installations that appear to grow from the landscape, amplifying color, light, and form throughout the gardens. Indoors, the separately ticketed gallery exhibition&nbsp;Chihuly: Radiant Forms&nbsp;traces more than 40 years of Dale Chihuly’s creative journey. The exhibition features work from many of his most celebrated series, including&nbsp;Baskets,&nbsp;Macchia,&nbsp;Seaforms,&nbsp;Putti,&nbsp;Ikebana,&nbsp;Persians,&nbsp;Venetians,&nbsp;Cylinders, and&nbsp;Rotolo, along with original drawings that offer insight into his creative process and sources of inspiration.&nbsp;Designed for visitors of all ages,&nbsp;CHIHULY at Meijer Gardens&nbsp;invites both long-term admirers and first-time viewers to experience the work of one of the world’s most influential artists in a setting where art, culture, and nature meet. See&nbsp;<a style="color: rgb(0, 0, 255);" rel="noopener noreferrer" href="https://u7061146.ct.sendgrid.net/ls/click?upn=u001.gqh-2BaxUzlo7XKIuSly0rC-2Fc4ce2SDpH5WBMhYM8Lg3vMPQs5XAbZCZ0FrT4y8DV5IAx5_a1zzESVdmgLIQ4rlql6kbXT9QXaGGWYBxHAPtO1QqWO5GLp4idxebnEhHBD62Papsj-2FEMdnG4nN1Qo796g0RxGgCD6tZhe9AwtUHIFq1tAylqDj842HkNV4wYVNY4xw2XiPRSDLBolCKLsmz4mAfXyTKdAWEBNXMZS2HPTyW9tzh76eJPxtoS3TeCfWde-2FWTR36oITD8AJ2o16OioU6rZzSVhUtY-2FQMgnv00UizvWdkF-2F6vDGFX8RjYZ6VxGE9RjaFP3GxOchTBy9JEhqw0aRDSSQKKZ9o5ocAwD09kINSqSLHBx-2FwnUgD-2BEf05TldTsoQY4IIsvjRN-2FDK-2FrtXNjUU2iL2upL7H53VA7YA-2BwQHU-3D" target="_blank">website</a>&nbsp;for related exhibition programming. Tickets go on sale in February.

CHIHULY

<h3>August 8 – November 1, 2026</h3> Told from the point of view of Sansei (third generation) Japanese Americans, Resilience—A Sansei Sense of Legacy is an exhibition of eight artists whose work reflects on the effect of EO9066 (The law ordered the forced imprisonment of all Japanese Americans living on the west coast of the United States) as it resonated from generation to generation. While several of the artists in Resilience employ traditional Japanese methods in the construction of their work—Lydia Nakashima Degarrod’s use of boro stitching on her works on paper; Na Omi Judy Shintani’s kimono cutouts honored in ceramic vessels—others use iconography relating to Japanese culture as a jumping-off point for personal explorations on the subject of the incarceration camps—Reiko Fujii’s photographs-as-kimono; Wendy Maruyama’s columns of replicated camp ID tags. Each in their own way, the artists in this exhibition express moments of deeply felt pain and reluctant acceptance, emotions which were often withheld by their elders. Exhibition artists are: Kristine Aono, Reiko Fujii, Wendy Maruyama, Lydia Nakashima Degarrod, Tom Nakashima, Roger Shimomura, Na Omi Judy Shintani, and Jerry Takigawa.

Resilience—A Sansei Sense of Legacy

Opening Reception:&nbsp;Saturday, September 12, 2026, 4pm — 7pm (the gallery will be open 12pm — 7pm)Artist Talk: 4pm&nbsp;About the exhibitionThe Renaissance Society and Fondazione In Between Art Film present&nbsp;Tendered, a solo exhibition by Karimah Ashadu, whose moving-image practice examines the conditions under which bodies are rendered legible within contemporary systems of labor and value, especially within the cultural context of Nigeria and its diaspora.Karimah Ashadu: Tendered&nbsp;will be on view at the Renaissance Society in Chicago from September 12 - November 1, 2026.&nbsp;Working across film and installation, Ashadu develops close, sustained encounters with people whose lives unfold within informal economies, attending to how aspirations are negotiated under material constraint.&nbsp;The exhibition marks the U.S. debut of&nbsp;MUSCLE,&nbsp;a new moving image installation co-commissioned and co-produced by the Renaissance Society, Fondazione In Between Art Film, and Camden Art Centre. Centered on bodybuilders training in the heart of Lagos’s slums, the work situates bodybuilding within a broader field of exertion: the body as site of labor, autonomy, and self-fashioning.&nbsp;MUSCLE&nbsp;is accompanied by a series of new sculptural works,&nbsp;Pure Rugged Water (2025),that draw directly from the film’s environments.Having grown up between Nigeria and the United Kingdom, the artist situates her point of view within a constant negotiation of distance. In&nbsp;MUSCLE, she works with a sympathetic—and sometimes visceral—proximity to the subjects of the film, eschewing the documentary point of view. As she gathers the stories of men in this film, she extends an ongoing inquiry present in earlier works, including&nbsp;Machine Boys&nbsp;(2024) (on view at the Art Institute of Chicago from September 11&nbsp;—&nbsp;November 1, 2026),Plateau&nbsp;(2022), and&nbsp;Red Gold&nbsp;(2016).&nbsp;The exhibition is organized within the framework of&nbsp;Unison, a biennial initiative established by the Fondazione In Between Art Film to commission and produce moving image-based exhibitions in collaboration with international institutions.&nbsp; PublicationTendered9.76 x 12.79 inches168 Pages&nbsp;ISBN: 9788867497089&nbsp;&nbsp;Tendered&nbsp;is accompanied by the first reference monograph dedicated to the artist, edited by Bianca Stoppani,&nbsp;curator for the editorial and discursive programmes&nbsp;at&nbsp;Fondazione In Between Art Film, with Alessandro Rabottini and Leonardo Bigazzi. Published by Mousse, the monograph&nbsp;features contributions from Karimah Ashadu; Myriam Ben Salah, director and chief curator at The Renaissance Society,&nbsp;Chicago; Leonardo Bigazzi, curator at Fondazione In Between Art Film; Gina Buenfeld-Murley, curator at Camden Art Centre,&nbsp;London; Martin Clark, director at Camden Art Centre, London; Dr Clive Chijioke Nwonka, associate professor in film, culture&nbsp;and society, UCL, London; Alessandro Rabottini, artistic director at Fondazione In Between Art Film; Bettina Steinbrügge,&nbsp;director at Mudam Luxembourg; and Arese Uwuoruya, assistant curator at Camden Art Centre. About the ArtistKARIMAH ASHADU (b. London 1985) is a British-born Nigerian artist and film director living and working between Hamburg and Lagos. Her work has been exhibited and screened at institutions internationally, including the 60th Venice Biennale, where she was awarded the Silver Lion for a Promising Young Participant in the International Exhibition. Other Institutional shows and screenings include Camden Arts Centre, London, Canal Projects, New York, MoMA PS1, New York, Kunsthalle Bremen,&nbsp;Tate Modern, London, Secession, Vienna, Kunstverein in Hamburg, South London Gallery, London, Museum of Modern Art, New York and Centre d’Art Contemporain Genève.&nbsp;Current&nbsp;solo shows include the Kestner Gesellschaft, Hannover.&nbsp;Credits&nbsp;Tendered&nbsp;is curated by Alessandro Rabottini and Leonardo Bigazzi of Fondazione In Between Art Film with Myriam Ben Salah and Karsten Lund for its iteration at the Renaissance Society.&nbsp;Supported by Sadie Coles HQ, LondonPure Rugged Water (2025)&nbsp;was produced with additional support of the Alexander Tutsek-Stiftung.Renaissance Society programs are supported by Teiger Foundation and The Andy Warhol Foundation for the Visual Arts.&nbsp;EventsConversations at the Edge: An Evening with Karimah AshaduThu, Sept 10, 6PMSiskel Film Center164 N. State Street, Chicago, IL 60601Presented in collaboration with the School of the Art Institute and Gene Siskel Film Center, this screening presents three other films by Karimah Ashadu—Plateau,Brown Goods, and&nbsp;King of Boys—and will be&nbsp;followed by a conversation with the artist.&nbsp;Opening Reception&nbsp;Sat, Sep 12, 4-7pm&nbsp;&nbsp;&nbsp;Screening by the African Film InstituteWith a conversation between Christian Nyampeta and Natacha NsabimanaThu, Oct 15, 7PMLogan Center for the Arts, 2nd&nbsp;Floor&nbsp;In 2019, artist and filmmaker Christian Nyampeta, who is based in New York, launched the African Film Institute, housed at e-flux. In conjunction with Karimah Ashadu’s exhibition, Nyampeta and anthropologist Natacha Nsabimana will show a film and be in conversation as part of their ongoing collaboration on the question of what is African cinema?Visit&nbsp;<a href="http://renaissancesociety.org/" rel="noopener noreferrer" style="color: rgb(35, 31, 32);" target="_blank">renaissancesociety.org</a>&nbsp;for more information. Image: Karimah Ashadu,&nbsp;MUSCLE, 2025 [Still] HD digital film, colour with stereo sound, 22:20 mins © Karimah Ashadu. Courtesy the Artist, Camden Art Centre, Fondazione In Between Art Film, Sadie Coles HQ and the Renaissance Society at the University of Chicago.

Karimah Ashadu: Tendered 

Alexandra BarthThe Awnings DOCUMENT ChicagoSeptember 17 – November 7, 2026 Opening&nbsp;Thursday, September 17, 5–8pm # DOCUMENT is delighted to present&nbsp;The Awnings, Alexandra Barth’s second solo exhibition with the gallery and the artist’s first in Chicago. Alexandra Barth is a Slovakian artist based in a small town near Verona, in Northern Italy. Her painting practice is grounded in the observation of quietly evocative interiors and furnishings, rendered through precisely layered applications of airbrushed paint. For the past two years, she has turned this attention toward the retractable awning, a common feature of commercial and residential buildings across Italy and Southern Europe. Painting from unstaged photographs sourced on the web, Barth focuses on the awning in every form except its fully functional state—emphasizing instead its everyday, technical, and non-aesthetic aspects, and the tension between its familiar Italian character and its purely mechanical qualities. The exhibition treats the awning less as a functional object than as a symbol, tracing the hidden lifecycle it typically undergoes unseen: manufacture, retail display, and eventual resale. Barth’s source images are drawn from online marketplaces such as Facebook Marketplace and Subito, where sellers of secondhand units post close-up photographs of pattern and condition alongside pictures of shuttered awnings removed from the storefronts and entryways they once shaded. In&nbsp;The Showroom, a formation of small-scale models in various awning shapes curiously adorns an interior wall, echoing the display logic of the retail settings found throughout the exhibition. Red, orange, pink, blue, beige, and gray tones—drawn from the retail displays and online listings that inspire the work—dominate the paintings’ palette. By foregrounding the awning’s “behind-the-scenes” existence, Barth invites viewers to reconsider the quiet, overlooked architecture that structures public space. Alexandra Barth (b. 1989, Malacky, Slovakia) lives and works in Sanguinetto, Italy. She received her degree from the Academy of Fine Arts and Design in Bratislava, Slovakia in 2013. Recent solo exhibitions include DOCUMENT, Lisbon, Portugal (2025); LOOM Gallery, Milan, Italy (2024); Mrs., Maspeth, NY (2023); Photoport, Bratislava, Slovakia (2023); A SUD, Pescara, Italy (2022); Stone Projects, Prague, Czech Republic (2022); Chris Sharp, Los Angeles, CA (2021). Group exhibitions include Photoport, The Elevator, Temporary Parapet, MDŽ, and White&amp;Weiss, in Bratislava, Slovakia. In 2024 she was awarded the TCP Art Finance Prize at The Armory Show, and her work is in the collections of the Zahorie Gallery of Jan Mudroch in Senica, Slovakia and the Morgan Stanley Collection, New York, NY.

Alexandra Barth: The Awnings

Brendan Fernandes: In the Round

MONUMENTS OF STILLNESS: Carole Feuerman Public Exhibition:June 2 – November 15, 2026 Ribbon Cutting &amp; Press conference:June 2, 2026 · 10AMWrigley Building400-410 North Michigan Ave.Chicago, Illinois <a href="https://hiltoncontemporary.com/exhibitions/carole-feuerman-monuments-of-stillness/" rel="noopener noreferrer" target="_blank">DETAILS</a>

MONUMENTS OF STILLNESS: Carole Feuerman

At RAM’s Wustum MuseumCynthia Toops is a polymer art pioneer who has been pushing the boundaries of the medium since the 1980s. The artist is well known for her micromosaic technique, which pieces together tiny shards of polymer into figurative or abstract compositions. Her distinctive style pulls inspiration from everyday events or objects, botanical subjects, folk art, and the cultural jewelry and ancient beads which she collects. While Toops works on her own, she also often collaborates with her husband, Dan Adams, who creates the glass beads and components featured in some pieces.

RAM Showcase: Cynthia Toops

at RAM’s Wustum MuseumStitched Stories: Narrative Quilts and Textiles&nbsp;brings together quilted, woven, and embroidered works from RAM’s collection that tell stories through fabric and thread. Whether incorporating representational imagery or utilizing abstraction, these small- and large-scale fiber works explore the multitude of ways in which textiles can be used to convey meaning. Drawing from both personal memory and imagined worlds, the artists represented in&nbsp;Stitched Stories&nbsp;demonstrate the versatility of fiber as a medium for storytelling as they transport viewers to faraway lands—from the bottom of the ocean to outer space. Significantly, several artists with Wisconsin ties are represented, underscoring the rich history of textile production in the state.

Stitched Stories: Narrative Quilts and Textiles

<h2>Winter Camp</h2>A group exhibition of artworks and original screen prints featuring Wyatt Hersey, Anna Valdez, Melissa Lakey, and Esther Pearl Watson. In collaboration with&nbsp;<a href="https://www.thejaunt.net/" rel="noopener noreferrer" style="color: rgb(0, 0, 0);" target="_blank">The Jaunt</a>.&nbsp; October 23-November 21, 2026

Winter Camp

The Museum of Contemporary Art Chicago is excited to announce a solo exhibition by Mike Cloud (b. 1974, Chicago; lives in Chicago) for its latest&nbsp;<a href="https://mcachicago.us4.list-manage.com/track/click?u=c24ba7c5a91cefd699dc985e1&amp;id=b49b61817e&amp;e=4ba592fe2a" rel="noopener noreferrer" style="color: rgb(0, 124, 137);" target="_blank">Chicago Works</a>&nbsp;presentation, titled&nbsp;Chicago Works | Mike Cloud: Worldless Obstruction.&nbsp;Opening on May 2, 2026, in the MCA’s Turner Gallery and closing on February 7, 2027, the exhibition presents a series of newly commissioned works that continue Cloud’s experimentation with abstraction, symbolic language and the sculptural dimensions of painting.&nbsp;Cloud challenges historical framings of abstract painting as pure and apolitical, approaching his works instead as products of their political contexts and the capitalist systems through which they circulate. Crudely constructed from wooden stretcher bars, thickly layered in painted signs, and protruding into three-dimensional space, Cloud’s sculptural paintings are objects, rather than pristine surfaces, that possess a deliberately improvisational and, in his words, “unschooled” aesthetic. The artist sources his subjects from online news outlets, often alluding to contemporary stories of suffering and tragedy through his enigmatic visual vocabulary, developed over two decades. Forms resembling snowflakes, rainbows, four-leaf clovers, hearts and hands densely cluster across his canvases, which are stapled to configurations of stretcher bars that hover between abstract structures and recognizable shapes.The new paintings made specifically for this exhibition extend these strategies while foregrounding three recent developments in Cloud’s practice: emojis, an “X”-shaped painting, and the protrusion of his works off the wall and on to the floor of the gallery. Through the use of hinges, the paintings become modular, endowed with the capacity to be folded, installed upright, and exhibited in multiple configurations. Cloud’s work embodies the slipperiness of symbols, the malleability of meaning, and the potential for freedom within ambiguity.&nbsp;Cloud will be in conversation with exhibition curator Nolan Jimbo on May 2, 2026, in the Edlis Neeson Theater.&nbsp;Mike Cloud is the 27th artist to participate in&nbsp;<a href="https://mcachicago.us4.list-manage.com/track/click?u=c24ba7c5a91cefd699dc985e1&amp;id=dd5f8f7c3d&amp;e=4ba592fe2a" rel="noopener noreferrer" style="color: rgb(0, 124, 137);" target="_blank">Chicago Works</a>, a solo exhibition series at the MCA that features artists who are shaping contemporary art in the city and beyond.&nbsp;Chicago Works | Mike Cloud: Worldless Obstruction&nbsp;is organized by Nolan Jimbo, Assistant Curator. ABOUT THE ARTISTMike Cloud was born and raised in Chicago. He earned a BFA from the University of Illinois Chicago (2001) and an MFA from Yale University (2003). He is currently Associate Professor and Director of Graduate Studies in the Department of Art, Theory, and Practice at Northwestern University.&nbsp;Cloud’s solo exhibitions include&nbsp;Circle Chat, Corbett vs. Dempsey, Chicago (2025);&nbsp;Called Ahead, Fahrenheit Madrid (2024);&nbsp;The Myth of Education, Reva and David Logan Center for the Arts, University of Chicago (2018);&nbsp;Bad Faith and Universal Technique, Thomas Erben Gallery, New York (2014);&nbsp;Systems, Sheldon Memorial Art Gallery, University of Nebraska, Lincoln (2006); and&nbsp;Special Project: Mike Cloud, P.S.1 Contemporary Art Center, New York (2005). He has also participated in group exhibitions at Artists Space, New York; Xavier Hufkens, Brussels; Good Weather, Chicago; White Columns, New York; and The Studio Museum in Harlem, New York. Cloud received a Guggenheim Fellowship in 2024, the Richard Pousette-Dart Award from the Foundation for Contemporary Arts’ in 2023, and the Jules Guerin Rome Prize from the American Academy in Rome in 2023.At the MCA, Cloud previously participated in the group exhibition,&nbsp;The Long Dream&nbsp;(2020), and his work,&nbsp;Cycle and Stable&nbsp;(2015), resides in the museum’s collection. His work is also held in the collections of the Art Institute of Chicago, the Metropolitan Museum of Art, New York, and the Studio Museum in Harlem, New York.&nbsp; SUPPORTGenerous support for&nbsp;Chicago Works | Mike Cloud: Worldless Obstruction&nbsp;is provided by the Sandra and Jack Guthman Chicago Works Exhibition Fund. Mike Cloud (b. 1974, Chicago, IL; lives in Chicago),&nbsp;Poison Arrows South Africa, 2026. Acrylic on canvas, hinges, pegs, rope, and watercolor tape; 48 × 47 × 75 in. (121.9 × 119.4 × 190.5 cm). Courtesy of the artist and Thomas Erben Gallery, New York. Photo: Colleen Keihm.

Mike Cloud: Worldless Obstruction

This exhibition will bring together for the first time the work of two artists who have dedicated their lives, through their multifaceted artistic processes, to healing.After a life of rambling, Emery Blagdon (1907–1986) settled on his family’s homestead in Garfield Table, Nebraska. Many members of his family had been afflicted with cancer. Convinced of the healing potential of the unseen forces of the earth, Blagdon spent forty years constructing “The Healing Machine.” Using largely tin foil, masking tape, Christmas decorations, and wire, Blagdon sought to harness magnetism, electricity, and other energies to surround visitors with positive forces. JMKAC has owned “The Healing Machine” since 2004.Guadalupe Maravilla migrated to the United States from El Salvador, unaccompanied, at age eight. At thirty-six, he was diagnosed with cancer, which he links to inherited trauma. During treatment, Maravilla connected with Indigenous healing practices, including sound baths—ceremonies that harness sonic vibrations from gongs, conch shells, and other instruments to restore calm and balance and release toxins in the body. He began making sculptures, paintings, performances, and large-scale installations that incorporate found objects related to his own migration story and various gongs and bowls, which he activates to conduct sound ceremonies. Blurring art, science, and medicine, he calls these activations “healing machines.”At the Arts Center, central to the exhibition is Maravilla’s Mariposa Relámpago, a school bus that has been reimagined as a healing temple. Throughout the exhibition, the healing machines will be activated by Maravilla and various other healers, playing the sculptures to turn on and amplify the energy in the gallery—transforming the space into an immersive healing environment.For the coinciding installation at the Art Preserve, Maravilla’s El Espíritu de Mariposa Relámpago Disease Thrower, a monumental bronze snake with a butterfly head, lightning bolt, and gong, serves as a central altar. Surrounded by Blagdon’s energy-focusing paintings and a selection of Maravilla’s retablos, this installation harnesses the energy held in the shed formerly occupied by Blagdon’s “The Healing Machine,” while it is on view at the Arts Center.

Guadalupe Maravilla with Emery Blagdon: The star exploding in the body

At the Art Preserve: May 5, 2026–January 10, 2027At the Arts Center: May 30, 2026–December 6, 2026 This exhibition will bring together for the first time the work of two artists who have both dedicated their lives, through their multifaceted artistic processes, to healing.After a life of rambling,&nbsp;<a href="https://www.jmkac.org/artist/blagdon-emery/" rel="noopener noreferrer" style="color: rgb(38, 62, 148);" target="_blank">Emery Blagdon</a>&nbsp;(1907–1986) settled on his family’s homestead in Garfield Table, Nebraska. Many members of his family had been afflicted with cancer. Convinced of the healing potential of the unseen forces of the earth, Blagdon spent forty years constructing “The Healing Machine.” Using largely tin foil, masking tape, Christmas decorations, and wire, Blagdon sought to harness magnetism, electricity, and other energies to surround visitors with positive forces. JMKAC has owned “The Healing Machine” since 2004. Guadalupe Maravilla migrated to the United States from El Salvador, unaccompanied, at age eight. At thirty-six, he was diagnosed with cancer, which he links to inherited trauma. During treatment, Maravilla connected with Indigenous healing practices, including sound baths—ceremonies that harness sonic vibrations from gongs, conch shells, and other instruments to restore calm and balance and release toxins in the body. He began making sculptures, paintings, performances, and large-scale installations that incorporate found objects related to his own migration story and various gongs and bowls, which he activates to conduct sound ceremonies. Blurring art, science, and medicine, he calls these activations “healing machines.”At the&nbsp;Arts Center, central to the exhibition is Maravilla’s Mariposa Relámpago, a school bus that has been reimagined as a healing temple. Throughout the exhibition, the healing machines will be activated by Maravilla and various other healers, playing the sculptures to turn on and amplify the energy in the gallery—transforming the space into an immersive healing environment. For the coinciding installation at the&nbsp;Art Preserve, Maravilla’s El Espíritu de Mariposa Relámpago Disease Thrower, a monumental bronze snake with a butterfly head, lightning bolt, and gong, serves as a central altar. Surrounded by Blagdon’s energy-focusing paintings and a selection of Maravilla’s retablos, this installation harnesses the energy held in the shed formerly occupied by Blagdon’s “The Healing Machine,” while it is on view at the Arts Center.

For more than six decades, Mernet Larsen has been painting. Her representational, yet idiosyncratic, compositions exist largely outside mainstream trends, drawing from 15th-century Italian painting, wide-ranging arts of Asia, media, art theories, and her own memories and photos. Larsen’s subjects range from cafes and cafeterias to bedrooms and meeting rooms, and they capture a sense of the mundane as they nod to pictorial antecedents. By merging various perspectival systems, Larsen generates figures that appear as geometric solids in disorienting contexts. The scenes lack horizons and they refuse to center a viewer.&nbsp;As the artist has written,&nbsp;“I want nonspecific viewpoints, a sense of vertigo, so that you are holding each situation in your mind almost as if you are wearing it.”&nbsp;As a result, her figures can be disproportionately large or small, flattened, or even upside down, allowing them to exist believably in space.Larsen’s personages undertake the activities of life. They have meals, pursue hobbies, gather in malls, homes, or outdoors–but they simultaneously imply a passivity or lack of affect that is unsettling, while still familiar. The bored expressions—or at least poker faces—on many of the figures suggest an underlying critique of society, yet the paintings can also make one laugh out loud. This affect contributes to a stillness that elevates each figural gesture to something more monumental than the mundane activity it represents.Larsen frequently uses abstract images as springboards for her compositions. Treating found motifs as Rorschachs (the famous psychological “inkblot test”), she draws out spatial structures and unconscious attitudes toward subject matter that would not have occurred to her otherwise. The zig- zag angles of the seamstress and client in&nbsp;Getting Measured, 1999, for example, derive from an architectural element in a 13th-century Japanese scroll that she inverted and reimagined. Larsen clarifies that her appropriation of such forms does not pretend to be an interpretation or alliance with the original. Instead, this is a kind of “reverse abstraction” in that Larsen gives recognizable meaning to a detail she has incorporated as pure shape. In more recent works like&nbsp;Cézanne’s House, 2023, she does make explicit reference to an earlier artist, but subverts his frameworks at the same time. Such works honor her fascination with Cézanne, for example, but remain deeply original. Across these various strategies, Larsen has invented constructs that reconsider the way daily life is perceived and depicted. Her desire is at once to defamiliarize and honor the ordinary.Larsen has been the subject of more than 30 solo gallery and museum exhibitions. The current focused retrospective highlights many of her greatest works, emphasizing Larsen’s subjects from everyday life. It includes about 20 paintings made from 1986 to the present belonging to private and public collections, as well as a number of recent works that have yet to be exhibited. The exhibition is scheduled to run from September through December 2026. It will be accompanied by a fully illustrated catalogue with text by award-winning novelist Lauren Groff.The exhibition is curated by Janine Mileaf, Executive Director &amp; Chief Curator of The Arts Club of Chicago. About the ArtistMernet Larsen (b. 1940, Houghton, Michigan) has exhibited extensively since the late 1970s and has been the subject of over thirty solo exhibitions, including&nbsp;Mernet Larsen: The Ordinary, Reoriented,&nbsp;Akron Art Museum, 2019, and&nbsp;Mernet Larsen: Getting Measured,&nbsp;1957-2017,&nbsp;Tampa Museum of Art, 2017. Her work is in numerous collections, including the Whitney Museum of American Art, New York, NY; the Los Angeles County Museum of Art, CA; the Carnegie Museum of Art, Pittsburgh, PA; the Museum of Fine Arts, Boston, MA; the Walker Art Center, Minneapolis, MN; the Alfond Collection of Contemporary Art, Cornell Fine Arts Museum, Rollins College, Winter Park, Florida; the Israel Museum, Jerusalem, Israel; and the Art Gallery of New South Wales, Sydney, Australia, the X Museum, Beijing, China, among others. Larsen received her BFA from the University of Florida, and her MFA from Indiana University. She lives and works between Tampa, Florida and Jackson Heights, New York.

Mernet Larsen

<a href="https://kimstoragegallery.us22.list-manage.com/track/click?u=63eb3ae92ac5ae9371f4d5ed0&amp;id=af142533d1&amp;e=0feabe6389" rel="noopener noreferrer" style="color: rgb(0, 0, 0);" target="_blank">Doug Fath</a>’s paintings are open narratives that examine myth, culture, pain, and hope. Working in a Magic Realist style, his canvases invite viewers into dreamscapes where the familiar and the fantastical converge — where blindfolded pigs recline in lush abundance, armed bears stand vigil amid wildflowers, and bluebirds rise singing into darkened skies. Through vibrant color and the charged presence of animals, Fath constructs a symbolic language that is at once personal and universal, poetic and politically alert.&nbsp;At the heart of his practice is a commitment to painting as a healing mechanism — a space where isolation, grief, injustice, and resilience can be held together without easy resolution. Fath’s imagery draws on encyclopedias, folk art, scientific illustration, literature, and poetry, weaving them into allegories that speak to the current political and social moment. The narrative is always open-ended, never didactic — he invites the viewer to complete the meaning, to bring their own experience into dialogue with his.&nbsp;His primary influences are the women of the Mexican Surrealist movement — Frida Kahlo, Leonora Carrington, and Remedios Varo — whose unflinching examination of pain, isolation, and the inner life runs throughout his work. Fath received his MFA in Photography from the University of Illinois at Chicago and has exhibited across the United States at venues including the James Watrous Gallery, Arts + Literature Laboratory, Tory Folliard Gallery, the Dubuque Museum of Art, and the Museum of Wisconsin Art.

Doug Fath

What if Emmett Till lived? What if&nbsp;he had returned home still a child, alive and free?&nbsp;If Emmett Till Lived…&nbsp;is an exhibition and a civic invitation. The very statement invites a range of questions, a reckoning with the past, and a probing investigation of the current state of American life.&nbsp;This exhibition, and the invitation it offers to viewers, creates a collective arena to consider how freedom has been secured on American ground. In 1955, Emmett Till, then fourteen years old, had traveled from Chicago to the Mississippi Delta region to visit his family during the summer, bought candy at Bryant’s Grocery and Meat Market, and was accused of whistling at a shopkeeper, a white woman working in the store. The accusation violated the racial caste system of Jim Crow rule that kept the economic, civic, and social subordination of black Americans the law of the land. Days later, the woman’s husband, Roy Bryant, his brother-in-law John William (J.W.) Milam, and one other man kidnapped Till from the home of his uncle Moses Wright near Money, Mississippi, and took him to a barn where they brutally tortured, mutilated, and killed him with the force of a mob lynching. Till’s body was thrown in the Tallahatchie River weighed down by a 75- pound cotton gin fan wrapped around his neck with barbed wire. The next month, Bryant and Milam were acquitted by a jury in Sumner, Mississippi. In&nbsp;January&nbsp;1956,&nbsp;they confessed to the murder in&nbsp;Look&nbsp;magazine with pride. Till’s lynching was a warning: in Mississippi, Jim Crow rule would remain. In 2017, the Till case was reopened by the Justice Department when new information emerged that the woman who had accused him of whistling at her had recanted. While her statement did not lead to any persecution after the FBI investigation—the statute of limitations had run out and perjury in a state court is not a federal crime—it did result in the Justice Department’s statement that “the government does not take the position that the state court testimony the woman gave in 1955 was truthful or accurate.”&nbsp; There were many Tills, yet his murder was the one made visible to all. “Let the world see what I’ve seen,” his mother, Mamie Till-Mobley said. Till-Mobley asked for an open casket funeral for her son in Chicago and 100,000 attended—the largest civil rights event and the most impactful for mass mobilization to date in the United States.&nbsp; Racism had been clear; Till’s death gave many new resolve coming as it did a year after the 1954&nbsp;Brown v. Board of Education&nbsp;Supreme Court case that legally outlawed segregation. Till’s murder became the event that shook the consciousness of the nation enough to enforce it.&nbsp; “We were the Till generation,” Congressman John Lewis said, echoing the sentiments of many. When Rosa Parks explained why she refused to give up her seat in the front of the bus to a white customer, launching the Montgomery Bus Boycott, she said, “I thought of Emmett Till and I couldn’t go back.” Picture it. What would it have required for Till to live?&nbsp;If Emmett Till Lived…&nbsp;honors Till and the history born of his sacrifice. The show—drawn entirely on work in the collection of the Museum of Contemporary Photography at Columbia College Chicago—imagines what could have come in his life: photographs of different restaurants pay homage to the last meal Till’s mother, Mamie Till-Mobley, packed for him before he left Chicago, others show his favorite pastimes, meditate on the love he might have experienced, on days spent enjoying life in Chicago, on the playground, at the beach, attending prom, living free. There are images of railway lines that mark his one-way trip from Illinois to Mississippi and the travels that might have one day taken him around the world. There are photographs of the&nbsp;full range of&nbsp;life events Till missed: from the Chicago Bulls as a cultural phenomenon to the love we imagine he might have known as he grew into a man, to the election of Barack Obama and the extended Civil Rights protest and movement today.&nbsp;&nbsp;&nbsp;&nbsp; The show deliberately draws upon the work of a vast array of photographers who emblematize the full range of American life including: Hanif Adbur-Rahim, Tom Arndt, Laylah Amatullah Barrayn, Uta Barth, Endia Beal, Dawoud Bey, Christian Boltanski, Keith Carter, Teju Cole, Henri Cartier-Bresson, Peter Cochrane, Barbara Crane, Paul D’Amato, Bruce Davidson, Paul Dahlquist, Erica Deeman, Jack Delano, Jess T. Dugan, Jim Dine, Elliott Erwitt, Terry Evans, Walker Evans, Adama Delphine Fawundu, Rachel Feirman, Scott Fortino, Robert Frank, Lee Friedlander, Leonard Freed, Kris Graves, Guillaume Simoneau, Todd Hido, Earlier Hudnall, Jr., Janna Ireland, Dorothea Lange, An-My Lê, Danny Lyon, Sally Mann, Stephen Marc, Diana Matar, Robert Mapplethorpe, Martin Hyers + William Mebane, Julie Moos, Kurt Markus, Natasha Moustache, Zora J Murff, Laurel Nakadate, Arteh Odjidja, Gordon Parks, Alexis Peskine, David Plowden, Marc PoKempner, Sheila Pree Bright, Walker Rosenblum, Anastasia Samoylova, Jon Saudek, W. Stephen Saunders, Paul Mpagi Sepuya, Arthur Shay, Sara Shamsavari, Aaron Siskind, Victor Skrehneski, Joel Sternfeld, Alfred Stieglitz, Bob Thall, Ruth Thorne-Thomsen, Charles Traub, Jerry Uelsmann, Todd Webb, Carrie Mae Weems, and Garry Winogrand.&nbsp; If Emmett Till Lived…&nbsp;is an exhibition that mounts a civic invitation through an online component of the show that allows&nbsp;viewers in Chicago and beyond to craft their own displays in response to three prompts:&nbsp;<ul><li>How would you have hoped Till&nbsp;could&nbsp;have lived after 1955?</li><li>What do you wish Till, and the many Tills, might have never had to experience?&nbsp;</li><li>What would that life have required of us all? How have we challenged the force of Jim Crow rule and its legacy today?</li></ul>These&nbsp;invitations are crafted to consider the sacrifice of his life, and what it wrought, and what work remains.-Sarah Lewis ﻿About the curatorSarah Lewis is the founder of Vision &amp; Justice and the John L. Loeb Associate Professor of the Humanities and Associate Professor of African and African American Studies at Harvard University. She has authored and edited over 60 publications including&nbsp;<a href="https://www.hup.harvard.edu/books/9780674238343" rel="noopener noreferrer" target="_blank">The Unseen Truth: When Race Changed Sight in America</a>,&nbsp;which won the American Book Award; the bestseller,&nbsp;<a href="https://www.simonandschuster.com/books/The-Rise/Sarah-Lewis/9781451629248" rel="noopener noreferrer" target="_blank">The Rise: Creativity, the Gift of Failure, and the Search for Mastery</a>; and the award-winning volumes,&nbsp;<a href="https://mitpress.mit.edu/books/carrie-mae-weems" rel="noopener noreferrer" target="_blank">Carrie Mae Weems</a>&nbsp;and “Vision &amp; Justice.” As founder of Vision &amp; Justice, Lewis has organized landmark convenings and founded a Vision &amp; Justice Book Series, launched in partnership with Aperture. Her writing has been published in the&nbsp;New Yorker,&nbsp;The New York Times,&nbsp;Artforum, and the&nbsp;New York Review of Books, and her work has been the subject of profiles from&nbsp;Vogue&nbsp;to&nbsp;The Boston Globe&nbsp;to&nbsp;The New York Times. Lewis’s influence resonates widely: a chapter on her life is included in Laura Lynne Jackson’s&nbsp;New York Times&nbsp;bestseller,&nbsp;Guided: The Secret Path to an Illuminated Life&nbsp;(2025) and her work has been highlighted in Brené Brown’s&nbsp;Strong Ground: The Lessons of Daring Leadership, the Tenacity of Paradox, and the Wisdom of the Human Spirit&nbsp;(2025).

If Emmett Till Lived: Freedom on American Ground

Gallery One, ChicagoPlease join for an opening reception for&nbsp;<a href="http://westernexhibitions.com/artist/miller-shellabarger/" rel="noopener noreferrer" style="color: rgb(0, 0, 255);" target="_blank">Miller &amp; Shellabarger</a>’s sixth show at Western Exhibitions on Friday, November 6, 2026, 5 to 8pm. More information to come.Image: Tug, 2025, construction paper, string, 6h x 13 1/2w in

Miller & Shellabarger

<h2>An exhibition of artist matchboxes.</h2> December 4-December 23, 2026

General Strike 2

The Museum’s four floors are filled with extraordinary artifacts, as well as paintings, illustrations, and sculptures that interpret the pre-modern&nbsp;and modern healing practices of human civilization. From early practices to today’s revolutionary techniques, the Museum’s collections and exhibits&nbsp;portray the mysteries, breakthroughs, failures, and milestones that have shaped modern surgical science.

Health in Space: Daring to Explore

The immersive outdoor light experience&nbsp;ENLIGHTEN at Meijer Gardens Presented by PNC Bank&nbsp;returns with a one-mile illuminated pathway that weaves innovative light displays, music, interactive elements, and the Sculpture Park into a bespoke multisensory outdoor winter experience.

ENLIGHTEN

New Encaustic Paintings.Late Fall Gallery Walk, 5-8pm.Image: Ocher Skyline 21 x 21, encaustic (wax, oil)

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