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

Weeds Grow in All Directions&nbsp;is an exhibition of Cydney Lewis's collage works and large-scale assemblages. Using everyday materials found in her daily life–plastic bags, packing paper, magazine cutouts, as well as rhinestones and textiles–Lewis creates otherworldly landscapes that prompt meditation on the destruction and resilience of the natural world. The works in the exhibition reward close looking—to find the extraordinary in the overlooked, to reconnect with energies around us, and to feel the pulse of our shared ecology through playful wonder and poignant reflection. In this body of work, the resilient weed is both metaphor and guide, challenging our perceptions of the disregarded and revealing the quiet spirit inherent in all natural matter. In Lewis's work, the material world intersects with the realm of elemental spirits, creating a layered tapestry of human emotion and urgent ecological awareness.

Cydney M. Lewis: Weeds Grow in All Directions

Opening Reception for Part 1: Saturday, May 2, 2026, 4pm–7pm&nbsp;Curator Talk: 4pm&nbsp;&nbsp;Palomar&nbsp;is a group exhibition about watching the sky, something that appears deceptively simple. Featuring twenty-eight artists, it unfolds in two parts, each five weeks long. Some works remain in place while others come and go, this encounter in time acting like a double exposure. Gradually, the familiar act of looking up spills over into a sense of life that is more layered and complex, or even contradictory. It turns out there is a lot at stake in the space above us.&nbsp;Decades ago, after the launch of the first satellite into orbit, humans had big dreams of leaving the Earth. Politicians, poets, and scientists made public comments in this spirit. Today it’s mostly billionaires who talk of escape, or of mining the planets out there. The rest of us look to the sky from the ground as life carries on. An earlier age of optimism around space exploration and human progress has given way to a new era, as the stars fade from view in our cities, new technologies emerge with unsettling effects, and those in power surveil from above. Through it all, the sky is a steady presence. The sun rises and sets. The moon, too. The stars come out, where you can see them. We organize our lives by these patterns. They infuse our concepts, our sense of time, and our language, even when they’re not on our minds.Part 1 of&nbsp;Palomar&nbsp;introduces certain celestial rhythms and cycles, while thinking about astronomy and other forms of observation in everyday life. It also begins to draw out experiences of time, as it is marked, measured, and perceived. Part 2 brings into view changing relationships with technology and the militarization of the skies. Both parts are shadowed by the question of what one sees and what one doesn’t, and the roles that images play, especially photographs, often wrapped up with the comforts and discomforts of distance.&nbsp;The exhibition borrows its title from the name of an observatory on a California mountaintop, which once had the largest optical telescope in the world. It lost that distinction in 1976, but it is still used to study the stars. In the eighties, Italo Calvino wrote a book about a man who shares his name with that place:&nbsp;Mr. Palomar, a seeker of the cosmic in the commonplace and an unflagging, if absentminded, observer. Taken together, these two touchstones evoke different kinds of observation and attention.&nbsp;Looking overhead can be a way to understand one’s place in the world, as it has been for thousands of years. Given the many ways people watch the sky or look to the cosmos, from scientific study to the habits of daily life, there are just as many different things to think or feel. The movement of the heavenly bodies offers a measure of continuity in the face of destabilizing change; the view above can be a source of solace, a realm of startling beauty, a reminder of something larger than oneself. The sky can also be a dark premonition, a site of violence or grief, a reminder of what there is to lose, or for many what is already gone. Sometimes it’s all of this at once.Curated by Karsten Lund.&nbsp;Artists featured:Part 1 (May 2–June 7, 2026)&nbsp;Darren Almond, Sarah &amp; Joseph Belknap, Myriam Boulos, Vija Celmins, Paul Fägersköld, Pierre Huyghe, Rinko Kawauchi, Jason Lazarus, Tony Lewis, Aspen Mays, Eadward Muybridge, John Opera, Chantal Peñalosa Fong, Kathleen Ryan, Carrie Schneider, Heji Shin, Erin ShirreffPart 2 (June 10–July 13, 2026)&nbsp;Sarah &amp; Joseph Belknap, Myriam Boulos, Vija Celmins, Cynthia Daignault, Paul Fägersköld, Lawrence Abu Hamdan, Sebastian Jefford, Jordan Kantor, Tony Lewis, Eadweard Muybridge, John Opera, Trevor Paglen, Torbjørn Rødland, Kathleen Ryan, Heji Shin, Erin Shirreff, Alec Soth, Shomei Tomatsu, Samira Yamin&nbsp;Videos online&nbsp;(Parts 1 &amp; 2)Allora &amp; Calzadilla, Chantal Peñalosa Fong, Simon Starling, Alice Wang&nbsp;CreditsLead support for this exhibition is provided by School Museum Fund, The Hees Family.&nbsp;Friends of Palomar Patron Circle: Maria Christina &amp; Guy-Karim Caland Puymartin, and Zach Smith.&nbsp;Renaissance Society programs are supported by Teiger Foundation and The Andy Warhol Foundation for the Visual Arts.&nbsp;EventsOpening Reception (Part 1)Sat, May 2, 4–7pmTalk at 4PM between curator Karsten Lund and Steven L. Bridges (MSU Broad Art Museum)&nbsp;Walkthrough (Part 1)Sun, May 17, 1PMLed by Karsten Lund&nbsp;WorkshopSun, May 17, 3PMLed by Karsten Lund and Joshi Radin Flores&nbsp;Performance: Whitney Johnson, Lia Kohl, and Macie StewartSat, Jun 13, 4PM&nbsp;Opening Reception (Part 2)Sat, Jun 13, 5–7PM&nbsp;Walkthrough (Part 2)Thu, Jun 18, 6:30PMLed by Karsten Lund&nbsp;Performance Lecture: Day &amp; Night with Sarah &amp; Joseph Belknap&nbsp;Sun, Jun 21, 12PM &amp; 10PM12PM Logan Center for the Arts, Screening Room10PM Midway Plaisance Winter GardenVisit&nbsp;<a href="http://renaissancesociety.org/" rel="noopener noreferrer" target="_blank">renaissancesociety.org</a>&nbsp;for more information.&nbsp;

Palomar (Part 2)

Martin Wong: Chinatown USA&nbsp;traces the development of the work of the queer painter and poet, highlighting Wong’s connection with the art and&nbsp;culture&nbsp;of&nbsp;Asia,&nbsp;inparticular through&nbsp;his&nbsp;collecting&nbsp;of&nbsp;pre-modern&nbsp;Asian&nbsp;art and antiquities and his explorations of the Chinatowns of New York and San Francisco from 1970 through the 1990s. A large portion of the exhibition is devoted to his Chinatown paintings, which were the subject of a major exhibition titled&nbsp;Chinatown USA&nbsp;presented at P.P.O.W. Gallery in New York City and the San Francisco Art Institute in 1993. These works depict notable architecture such as the Chinese pagoda-style building at 241 Canal Street, iconic actor Bruce Lee and Peking opera performer Mei Lanfang, festivities like the Chinese New Year Parade, and&nbsp;street&nbsp;scenes. The exhibition also explores Wong’s interest in counterculture communities (such as Puerto Rican poets and graffiti artists) and language through his poetry and American Sign Language paintings. The latter are presented alongside a&nbsp;small&nbsp;selection&nbsp;of works by artists of the modern graffiti movement from Wong’s personal&nbsp;collection,&nbsp;which he donatedto&nbsp;the Museum&nbsp;of the City of New York in 1994. Wong died in 1999 at the age of 53 from an AIDS-related illness.&nbsp;Martin Wong: Chinatown USA&nbsp;is accompanied by a fully illustrated catalogue published by Halsted A&amp;A Foundation and Gregory R. Miller &amp; Co. Edited by Yasufumi Nakamori, it includes six essays by leading scholars Solomon&nbsp;Adler, Lisa Hsiao Chen, Mark&nbsp;D.&nbsp;Johnson,&nbsp;Vivian&nbsp;Li, Margo Machida, and Lydia Yee.

Martin Wong: Chinatown USA

<a href="https://www.newberry.org/calendar/free-and-independent" rel="noopener noreferrer" target="_blank">Free and Independent: The Declaration of Independence and the Words That Made the United States</a>, features a rare early copy of the Declaration. The exhibition features more than two dozen historic items inviting visitors to survey selected phrases from the Declaration, such as "All Men are created equal," and to consider some of the surprising ideas behind those words. Collection items highlight influential figures such as John Locke, Benjamin Franklin, Mary Wollstonecraft, Alexander Hamilton, and John Jay. On display will be the only surviving manuscript copy of John Jay’s&nbsp;Federalist no. 3, one of only five surviving manuscript drafts of any of the Federalist essays. The exhibition is curated by Eric Slauter, Deputy Dean of the Arts and Humanities Division and the College at University of Chicago. Slauter is the author of&nbsp;The State as a Work of Art: The Cultural Origins of the Constitution, essays on the language of rights and equality in early America, and a forthcoming book on the origins, meanings, and afterlives of the Declaration of Independence. The Newberry's copy of the Declaration is a rare broadside from Newport, Rhode Island, mistakenly dated June 13 rather than July 13, 1776, that demonstrates how supporters and opponents of independence might have first encountered the empire-shattering news.&nbsp;Only in August 1776, as the document began to circulate in Europe, did delegates of Congress sign the famous handwritten parchment scroll currently at the National Archives.&nbsp; Other exhibition items include:<ul><li>A 1776 map of America;</li><li>A revolutionary timeline dedicated to Benjamin Franklin;</li><li>One of the first petitions by enslaved people to circulate widely in print;</li><li>Notes of a meeting between members of Congress and representatives of Native nations taken by Thomas Paine;</li><li>The biography of Deborah Sampson, a woman who disguised herself as a man to fight in the army.</li></ul> Free and Independent&nbsp;will be on view in the Hanson Gallery through July 18’s NewberryFest open house celebration, and is part of an array of programs and events related to the 250th&nbsp;anniversary of the Declaration. The Newberry is proud to be a partner in&nbsp;<a href="https://www.il250.org/" rel="noopener noreferrer" style="color: rgb(70, 120, 134);" target="_blank">Illinois America 250</a>, an inclusive, statewide effort to bring together Illinoisans’ diverse perspectives about our history – and our future. Learn more at:&nbsp;<a href="https://www.newberry.org/the-newberry-observes-america-250" rel="noopener noreferrer" style="color: rgb(70, 120, 134);" target="_blank">https://www.newberry.org/the-newberry-observes-america-250.</a> Free Public Programs being held along with the exhibition include: <a href="https://www.newberry.org/calendar/coffee-nation" rel="noopener noreferrer" style="color: rgb(70, 120, 134);" target="_blank">May 7, 6pm</a>“Coffee Nation: How One Commodity Transformed the Early United States.” Presenters: Author Michelle McDonald in conversation with curator and scholar Eric Slauter. Coffee Nation challenges traditional interpretations of the American Revolution, as coffee’s spectacular profitability in US markets and popularity on the new nation’s tables by the mid-nineteenth century was the antithesis of independence.&nbsp;<a href="https://www.newberry.org/calendar/allen-stephenson-conversation" rel="noopener noreferrer" style="color: rgb(70, 120, 134);" target="_blank">June 6, 2pm</a>Annual Colonial History Program: “The Declaration of Independence.” Discussants: Scholar/author Danielle Allen (Harvard University) and historian Scott Stephenson (Museum of the American Revolution), in partnership with Society of Colonial Wars in the State of Illinois. The discussion will be followed by a book signing of Dr. Allen’s latest book,&nbsp;Radical Duke.&nbsp;Reproduction artifacts from the Museum of the American Revolution will be available for viewing, including a recreation of George Washington’s tent in Washington Square Park, located across the street from the Newberry’s main entrance. <a href="https://www.newberry.org/calendar/declaration-reading" rel="noopener noreferrer" style="color: rgb(70, 120, 134);" target="_blank">July 8, 5pm</a>Sharing the Spirit of America: A Statewide &amp; National Reading of the Declaration of Independence Gather with special guests, fellow visitors, and library staff for a live, simultaneous nationwide public reading of the Declaration of Independence with one and all in Chicago and across the country. <a href="https://www.newberry.org/calendar/newberryfest-250" rel="noopener noreferrer" style="color: rgb(70, 120, 134);" target="_blank">July 18, 10am</a>NewberryFest: 250 Years of the United States Learn more about the history and legacy of the American Revolution by exploring our collection and try your own hand at historical calligraphy techniques. Celebrate all things Newberry with collection presentations, hands-on activities, tours, a mini used book sale, and so much more at this open house event. Image: Declaration of Independence broadside, Newport, RI: Solomon Southwick, 1776, VAULT Case broadside E221 .U57.

Free and Independent: The Declaration of Independence and the Words That Made the United States

Chicago Rooms, Chicago Cultural Center&nbsp;Ornament &amp; Information&nbsp;presents artists working in Chicago and Vienna whose practices explore the historic intellectual exchange between the two cities&nbsp;—&nbsp;from modern architecture to mid-century economic thought. Through sculpture, painting and conceptual approaches, the exhibition reflects on how ideas evolve as they move between cultural contexts.&nbsp;The exhibition is curated in partnership with Gertie Chicago and featured artists include Anna Sophie Berger, Gaylen Gerber, Benjamin Hirte, B. Ingrid Olson, Devin T. Mays, Max Guy, Josef Strau, Isabelle Frances McGuire, Walter Pichler, Diane Simpson, Miriam Stoney, Valentina Triet, Micah Schippa Wildfong, Heimo Zobernig.&nbsp;Public programs include an&nbsp;opening reception on&nbsp;Friday,&nbsp;April 10,&nbsp;6-7pm in the&nbsp;Chicago Rooms&nbsp;and&nbsp;additional&nbsp;performances and artist-led events throughout the exhibition&nbsp;duration.&nbsp;The first performance&nbsp;will be held&nbsp;Saturday,&nbsp;April 11,&nbsp;at 3&nbsp;p.m.&nbsp;inside the&nbsp;Chicago Rooms.&nbsp;Please click&nbsp;<a rel="noopener noreferrer" href="https://link.mediaoutreach.meltwater.com/ls/click?upn=u001.CSSunAOBvEOR4GhykBjJWWnTwxFlkUDDBF-2Fji248p2y6hFXsBorvoCC9fZuH5e36Pn-2BTTdSEqSZcF6S-2FCbBA0-2Fq9IH6tXX2BG5b0Mps0RIwEBqRxy-2BD7ec1SCRVfkVtG_fmR_0g5QiKQ3ANfCkWXxwzczn1phIok0-2FnBF8GNWXrNhq2-2B4ftGj9DI8Jn4AfRAGeAJVn7gGoI0v4yHfyxNzcTgWoLurliSnTAPDeTMjcpIoytOOx4olIMMV-2FUlia6rP-2BnJxXYH5O8tvn-2Fktq8OM7hVEsSIVa5QMZTlavNfGLkxY-2Bv5Ob8cNxVZY2QQwdDW7CjMxGACT3QdirHvuvzc-2FrsOP9qq38FKVrw-2Bh9GrF70Ft5aLbE8Nue-2F99yQjGNHjMHb-2B3klk5eNOWFwW9KoazpZWTUcBbiIMt1fpkZVbGxYby8-2FZaNQF4a7WBLAQ6RzIXxH8YyP-2F0HccGKvy2aTPy9pvMm3xHybxP0PGZAjjh3XTrzdo312fc-2BPPYJJGr0RPZuVeVLIsYvy4aTZbNapQwdWH-2Ffw-3D-3D" target="_blank">here</a>&nbsp;for more information on&nbsp;this&nbsp;exhibition.&nbsp;&nbsp;Image: Viennese Drinking Fountain, Hans Muhr, Presented to the City of Chicago on October 2, 1998

Ornament & Information 

Drawn from the Art Institute’s collection, this exhibition focuses on Greek multidisciplinary artist Lucas Samaras’s innovative photographs, as well as sculptures and paintings recently gifted to the museum by the Samaras Estate. These works offer a glimpse into Samaras’s broader practice and invites us into his creative, engaged, and focused life.

Lucas Samaras: Sitting, Standing, Walking, Looking

Part I, September 23, 2025 - February 22, 2026Part II, March 24, 2026 - July 26, 2026Why and how do people form political communities? How does political society organize our economic lives - and vice versa? And how as individuals do we navigate society?Smart to the Core: Wise to Power&nbsp;examines these questions by integrating visual art with foundational texts of modern social and political thought spanning nearly four centuries. Through a wide range of creative practices and philosophical perspectives, the exhibition addresses themes that are widely familiar yet deeply connected to specific political, economic, and cultural histories.<a rel="noopener noreferrer" href="https://uchicago.us2.list-manage.com/track/click?u=aba2086a45b4ee8391b89447b&amp;id=a6520b5f11&amp;e=00938adab1" target="_blank">Learn more about this exhibition</a>

Smart to the Core: Wise to Power (Part II)

In the words of Marvin Gaye, singer/songwriter, 1939-1984, "We don't need to escalate | You see, war is not the answer | For only love can conquer hate | You know we've got to find a way | To bring some lovin' here today | Come on talk to me | So you can see | What's going on (What's going on)"&nbsp;&nbsp; Opening Reception, Saturday, July 11, 2026Virtual Artists' Talk, Thursday, July 9, 2026, 7 PM CT

9th Annual Vicinity Regional Exhibition

Center for Native Futures presents Hattie Lee Mendoza, Melissa Melero-Moose, Sean Chandler

Hattie Lee Mendoza, Melissa Melero-Moose, Sean Chandler 

Artists: Natalja Heybrook, Ruti Modlin, Jeein Kim

July Solo Shows

Public Opening | 5:30 –&nbsp;8:00 pmOpening Artist Talk&nbsp;| 6:00 – 7:00 pm Artist Oren Pinhassi sculpts anthropomorphic forms at great scale that appeal to the senses and intellect at once. He brings to The Arts Club of Chicago a series of figural/architectural works that occupy the gallery in an encompassing configuration, aiming to trigger the physical engagements of desire and fragility. On a basic level, Pinhassi’s forms address viewers as beings. They stand erect, though full of bulbous protrusions and seductive orifices. Yet, they refuse to be fully explicit, instead, seeking to communicate in the manner of poetry. Pinhassi’s towering or sprawling creatures draw upon such ordinary materials as sand, stone, or vinyl. In a process he has named “erotic construction,” Pinhassi uses sensual appeal, rough texture, suggestive pose, and intimate detail to press against the confines of a restrictive society.&nbsp;He has further explained, “The cavities in my work—windows, holes—simultaneously reference the most intimate cavities of the body and, as recognizable architectural elements, become landscapes for this public exchange.” How do streetscapes or open windows suggest encounters or interpenetrations? What are the boundaries between one and another? Why do we fear contact? And where might mutual understanding be found?New York-based artist&nbsp;Oren Pinhassi&nbsp;(b. 1985) creates sensuous sculptures and immersive installations that explore the reciprocal relationship between humans and the environments we create. His work investigates how architecture and objects shape our bodies, behaviors, and perceptions while simultaneously carrying traces of human presence, desire, and vulnerability. Pinhassi’s ongoing dialogue highlights how our designs, in turn, design us.Working primarily with sand and plaster, Pinhassi is drawn to organic materials for their transformative potential and porous nature. His process of layering burlap, plaster, and sand over welded steel skeletons involves repeated tactile engagement, mirroring how environments carry the marks of human action—surfaces bearing traces of interaction, labor, care, and also the effects of erosion and destruction. His works challenge fixed ideas of private and public space and the roles we carry within them, envisioning construction as a tender world of hybrid forms where human and environment exist in constant co-creation.The exhibition is curated by&nbsp;Janine Mileaf, Executive Director and Chief Curator at The Arts Club of Chicago.&nbsp;Publication: To accompany the exhibition, the Arts Club of Chicago and Zolo Press, Mexico City, will copublish the artist’s first monograph with an essay by&nbsp;Alyce Mahon, Professor of Modern and Contemporary Art History and Fellow of Trinity College at the University of Cambridge, and support from Edel Assanti, London, Commonwealth and Council, Los Angeles, and Lehmann Maupin, New YorkPhoto:&nbsp;Truth Teller&nbsp;(detail), 2024. Steel, burlap, sand, polymer and rock. 93 x 30 x 24 in (236.2 x 76.2 x 60.9 cm). Photo by Elisabeth Bernstein. Courtesy of the artist and Lehmann Maupin Gallery.

Oren Pinhassi: Into Your Arms Length

Krasl Art Center presents&nbsp;Sculpture in the Direct Method, a group exhibition featuring Ajene Cetawayo Williams, Isaac Duncan III, Albert LaVergne, and Richard Hunt. On view from May 16 through August 9, 2026, the exhibition brings together two generations of artists to explore how material, form, and process shape contemporary and modern Black sculpture.Spanning generations of artistic practice,&nbsp;Sculpture in the Direct Methodexplores how artists engage abstraction, representation, and material process as interconnected and evolving strategies. The featured artists employ a range of visual languages, from gestural and improvisational approaches to more structured and symbolic forms, reflecting the breadth of contemporary and modern Black artistic practice.At the center of the exhibition is the direct method of metal sculpture, in which materials are cut, bent, and welded together to build form. This process allows for immediacy and revision, positioning material as an active and responsive element in the development of each work. Rather than adhering to predetermined outcomes, artists working in this way often allow form to emerge through interaction with their materials.Within this framework, abstraction operates as a critical language. Across Black sculptural traditions, abstraction has been used to engage complex histories and lived experiences. In this exhibition, abstraction and representation move fluidly, offering multiple ways of approaching identity and cultural expression.Sculpture in the Direct Method&nbsp;highlights the diversity of approaches and relationships within Black art, emphasizing how artists use material, form, and process to explore and reimagine social, cultural, and aesthetic landscapes.&nbsp; Other exhibition related events:PUBLIC P<a href="https://sfpwlrdab.cc.rs6.net/tn.jsp?f=0018nGdO601K0Us765swOcLJfngaCAZK9Xpmx94WQZZwxVfLw22_iXp3k1uBVdLFIQC9fQbVHFvHVSq1OPWsIwZ1hTMTJqhYjzWAErQJh9DQ2SrJ_Hy0oGG8LD6gSx35mpeIQxaf_aO8OwmoWtmFTvhKzxghxu7-PE_CN3c8A9MA91sPFQj1gmosg==&amp;c=wEhlYspdbK8skk8jBCXuB7cKSX69SRG4MTy-zyu4SDZvQvucsarXsg==&amp;ch=TDWbgZ80bkqthX-o6bdbvqljuVQ3OlTItpD2tUiNXIWEr5DM8-KA-w==" rel="noopener noreferrer" style="color: rgb(22, 22, 22);" target="_blank">REVIEW PARTY</a>Friday, May 15, 2026﻿﻿6 - 8 PMARTIST IN DIALOGUE:&nbsp;Isaac Duncan III and Ajene Cetawayo WilliamsSaturday, May 16,&nbsp;2026﻿﻿12 PM<a href="https://sfpwlrdab.cc.rs6.net/tn.jsp?f=0018nGdO601K0Us765swOcLJfngaCAZK9Xpmx94WQZZwxVfLw22_iXp3k1uBVdLFIQCGU3A5vO7RN90eKktov-ar5K8RfXWg4zaIRRBznJX1_xfYZe9VzsjCaxqBisvvFc6KXLxn4XKNMpl5PInNIUyyJpZcx3hq9fTFFRwqfimTkDMVzESSxqu4PMMVTnGc8Yy&amp;c=wEhlYspdbK8skk8jBCXuB7cKSX69SRG4MTy-zyu4SDZvQvucsarXsg==&amp;ch=TDWbgZ80bkqthX-o6bdbvqljuVQ3OlTItpD2tUiNXIWEr5DM8-KA-w==" rel="noopener noreferrer" style="color: rgb(22, 22, 22);" target="_blank">COFFEE WITH THE CURATOR</a>Thursday,&nbsp;May 21, 202612 - 1 PMCLASS OFFERINGS: ART AND LABORAges 13+(5) Tuesdays, 6 - 7:30 PMMay 26 - June 23&nbsp;Instructors Tami Fauver and&nbsp;Meli BanderaBased on the book&nbsp;Art and Labor&nbsp;by Ellen Boris and supplemental readings about Richard Hunt. For more information regarding the exhibitions, visit&nbsp;<a href="https://sfpwlrdab.cc.rs6.net/tn.jsp?f=0018nGdO601K0Us765swOcLJfngaCAZK9Xpmx94WQZZwxVfLw22_iXp3nDt0v7q1qrzW9pZxMrgzZKFbCEhszZ0BI3Ak268G3qKRRaUwHkV3YBxnGY3Fc1V0GoHCeLM5vjXQFdHyrE9d49pNF60MdLJIhsxui7xQqN7&amp;c=wEhlYspdbK8skk8jBCXuB7cKSX69SRG4MTy-zyu4SDZvQvucsarXsg==&amp;ch=TDWbgZ80bkqthX-o6bdbvqljuVQ3OlTItpD2tUiNXIWEr5DM8-KA-w==" rel="noopener noreferrer" style="color: rgb(36, 125, 146);" target="_blank">www.krasl.org</a>.

Sculpture in the Direct Method

The Prix Pictet is widely recognized as one of the world’s leading photography awards. Founded in 2008 by the Pictet Group, it seeks to harness the power of photography to draw global attention to critical sustainability issues. To date, the award has completed eleven cycles, each organized around a theme that highlights a distinct facet of sustainability.&nbsp;Storm&nbsp;is the theme of the eleventh cycle.Storm&nbsp;is both a natural phenomenon and a metaphor for the unseen and relentless forces shaping the world today. As a theme, it speaks to the growing volatility of our age, encompassing environmental collapse, political upheaval, economic instability, and social unrest, situating us perpetually on the brink of crisis.The theme challenges photographers to capture the raw energy and far-reaching consequences of these turbulent conditions. Whether addressing the devastation of climate disasters, experiences of displacement, or the simmering tensions within divided societies,&nbsp;Storm&nbsp;reveals not only disruption but also its generative force: the possibility of transformation, renewal, and hope that can emerge in its aftermath. The twelve shortlisted artists are:Takashi Arai (Japan/Germany)Marina Caneve (Italy)Tom Fecht (Germany/Italy)Balazs Gardi (Hungary/USA)Roberto Huarcaya (Peru)Alfredo Jaar (Chile/USA)Belal Khaled (Palestine)Hannah Modigh (Sweden)Baudouin Mouanda (Republic of the Congo)Camille Seaman (Denmark/USA)Laetitia Vançon (France)Patrizia Zelano (Italy)Alfredo Jaar was announced as the winner for his series&nbsp;The End, 2025 Support for this exhibitionMoCP is supported by Columbia College Chicago, MoCP Advisory Board, Museum Council, individuals, private and corporate foundations, and government grants.The 2025–2026 exhibition season is sponsored in part by the Comer Family Foundation, Efroymson Family Fund, Henry Nias Foundation, the Phillip and Edith Leonian Foundation, the Pritzker Traubert Foundation, Rowan Foundation, United States Artists, and Venable Foundation. MoCP also acknowledges support from the Illinois Arts Council and a CityArts grant from the city of Chicago Department of Cultural Affairs and Special Events. Image: Takashi Arai, 6 April 2013, Trinity Site, White Sands Missile Range, New Mexico, 2013, from the series “Exposed in a Hundred Suns”

Prix Pictet Storm

 Marian Carow

Please join for an opening reception for&nbsp;<a href="http://westernexhibitions.com/artist/richard-hull/" rel="noopener noreferrer" style="color: rgb(0, 0, 255);" target="_blank">Richard Hull</a>‘s sixth show at Western Exhibitions, new work in Gallery 1 and a printmaking retrospective in Gallery 2, on Friday, June 12, 2026, 5 to 8pm. More information to come. Image: Duet , 2023, Oil and wax ground on linen. 48h x 60w in

Richard Hull

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

Emily Endo: Estuary

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

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

Raised in Wheaton, Illinois, and based in New York, Jeanette Andrews&nbsp;bridges the worlds of illusion, installation, and conceptual art, creating interactive vignettes and surreal, multisensory experiences that investigate perception, cognition, and the seemingly impossible. Andrews applies sensory illusion techniques and her interest in the bounds of perception to create artworks that explore magic, multiple realities, and the human psyche, often inviting audiences in as co-creators in her illusory performances.Her first solo museum exhibition,&nbsp;On Wonder, Mind, &amp; Magic&nbsp;will present interactive and site-specific works including installation, sculpture, video, sound, and performance, alongside&nbsp;new work developed while Artist in Residence at MIT’s Center for Art, Science, and Technology&nbsp;in 2024-25. Curated by&nbsp;Liz Chilsen, Manager of Exhibitions &amp; Collections, the exhibition represents a return home for Andrews, who cites EAM as an early influence in her pursuit of a career honing her technical skills and applying magic and sensory illusion techniques to create artworks.&nbsp;Andrews has presented numerous commissioned works with the Museum of Contemporary Art Chicago, as well as for the Quebec City Biennial and Boca Raton Museum of Art, presented talks for Cooper Hewitt, Chicago Ideas Week, The British Society of Aesthetics, and universities, including Yale, Columbia, Princeton, and Harvard. She has held residencies with the Institute for Art and Olfaction and the Cynthia Woods Mitchell Center for the Arts at the University of Houston and is a former National Arts Club Artist Fellow and Affiliate of metaLAB at Harvard. She was a 2024-2025 Visiting Artist for the Center for Art, Science and Technology at MIT and the current visiting artist for the Arts Institute at Brown University.

On Wonder, Mind, & Magic: Jeanette Andrews

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

Jeremiah Hulsebos-Spofford: Near Eternity

Exhibit Hall, Chicago Cultural Center&nbsp;Chicago-based artist Alberto Aguilar presents a two-part&nbsp;retrospective&nbsp;exploring&nbsp;the&nbsp;themes of communication,&nbsp;translation&nbsp;and collaboration. Through&nbsp;distinctive&nbsp;acts of translation&nbsp;and&nbsp;shared authorship, Aguilar invites artists, friends, family members and even strangers into his creative process, transforming the exhibition into a living dialogue.&nbsp;The exhibition features works created with a range of collaborators including Saoirse Ahumada Furin, Jess Bass, Cecilia Beaven, Julieta Beltrán Lazo, Alex Bradley Cohen, Maria Burundarena, Jooeun Kim, Joshua Mitchell, Jonas Müller-Anheim, Ricardo Vilas Freire and Zespo.&nbsp;&nbsp;Please click&nbsp;<a rel="noopener noreferrer" href="https://link.mediaoutreach.meltwater.com/ls/click?upn=u001.CSSunAOBvEOR4GhykBjJWWnTwxFlkUDDBF-2Fji248p2y6hFXsBorvoCC9fZuH5e36AZGg2-2FtjC961wjBmgLlzNuz7Rq0zU-2BMLYcNhNIvpeOQ-3DEHvI_0g5QiKQ3ANfCkWXxwzczn1phIok0-2FnBF8GNWXrNhq2-2B4ftGj9DI8Jn4AfRAGeAJVn7gGoI0v4yHfyxNzcTgWoLurliSnTAPDeTMjcpIoytOOx4olIMMV-2FUlia6rP-2BnJxXYH5O8tvn-2Fktq8OM7hVEsSIVa5QMZTlavNfGLkxY-2Bv5Ob8cNxVZY2QQwdDW7CjMxGACT3QdirHvuvzc-2FrsOP9qq38FKVrw-2Bh9GrF70Ft5aJeGU9JUtxgunhG3qQqj-2BBd7tnD-2FdpqjWxL-2Fa4NHpdsTiQUtoaEwE3RrYEjNAtk3izMJ2YvahaFX3oiKvlOSprDrjkY8srcE6zhUZAIal-2Fc7gOryvSwKytp1PAKnMYGiT-2Fh5CExJ-2BJuSePSfHnwccFhcyqY4CDYCv6QC3KEKttMDQ-3D-3D" target="_blank">here</a>&nbsp;for more information on this exhibition.&nbsp;&nbsp;&nbsp;

Alberto Aguilar: I just really want to tell you this one thing 

The City of Chicago and its people are celebrated in IAM’s exhibition of works by Chicago-based artist Marvin Young. A lifelong resident of Chicago’s South Side, Young joined&nbsp;<a style="color: rgb(70, 120, 134);" rel="noopener noreferrer" href="https://artsoflife.org/" target="_blank">Arts of Life</a>’s progressive studio for artists with intellectual and physical disabilities in 2024. Using graphite, colored pencil, crayon, pen, and marker, Young creates vivid drawings that reflect his community and personal history, capturing imagined and remembered urban scenes alongside large-scale portraits. Young’s architectural landscapes feature vintage Chicago walk-ups, brownstones, and high rises framed by bright skies and classic cars, taxi cabs, police officers, and bustling city life. Curated by IAM Assistant Curator&nbsp;Christina Stavros, the exhibition showcases Young’s vision and prolific practice.

Impressions of a City: Drawings by Marvin Young

David R. Harper: Good Morning Sweetheart&nbsp;brings together sculpture, textiles, ceramics, stained glass, and found imagery to explore how memory takes shape in objects. Couches, perfume bottles, motel soaps, detergents, birds, flowers, fragments of figurative sculpture, and everyday household items appear throughout the exhibition. Familiar at first glance, these things are carefully handmade, altered, and recombined—becoming intimate, uncanny, and quietly charged.The exhibition unfolds across two connected spaces. In the MMoCA Icon, Harper creates a suspended environment centered on a lightweight mid-century couch upholstered in handwoven tones of pink, sherbet, melon, and honey. Embedded with domestic cleaning products, the couch becomes a floating “memory bank”—a meditation on home, care, and repose—surrounded by a mobile featuring a summer patio umbrella and garlands of cast-ceramic Froot Loops.In the State Street Gallery, the exhibition pivots around&nbsp;She Drank the Water That Was Meant for the Orchids&nbsp;(2019), a recent addition to MMoCA’s collection. New large-scale embroideries, stuffed horses with embedded objects, shelves of ceramic vases covered in cast cicadas, and ceramic flower bouquets extend the exhibition’s domestic and emotional terrain.Across both spaces, memory functions as a material. Objects act as containers of experience—holding care, pleasure, grief, desire, and loss. Rather than telling a single story, Harper creates environments where meaning emerges through movement and attention. Looking becomes an active process, shaped by proximity, perspective, and the viewer’s own lived experience.About the ArtistDavid R. Harper (b. Toronto, Canada / Lives and Works in the American Midwest), received his BFA from the Nova Scotia College of Art and Design, and his MFA from the School of the Art Institute of Chicago in Fiber and Material Studies. He currently teaches in the Painting and Drawing department at the Art Institute of Chicago and the New Studio Practice department at the Milwaukee Institute of Art and Design.&nbsp;Harper’s work employs both traditional and non-traditional materials such as embroidery, ceramic, and casting materials such as salt and charcoal in a cross-disciplinary manner to create objects installations that grapple with notions of loss, love, feelings of belonging and how we use objects to inform our notions of self.&nbsp;Harper has been included in group shows at museums in the US and Canada, including MASS MoCA, National Gallery of Canada and the Madison Museum of Contemporary Art and has participated in numerous solo exhibitions including&nbsp;My Own Personal Ghost&nbsp;(The John Michael Kohler Art Center),&nbsp;Plateau&nbsp;(South Bend Museum of Art)&nbsp;Skin and Bone&nbsp;(Textile Museum of Canada), A solo touring exhibition of Harper’s work titled&nbsp;Entre Le Chien et Le Loup&nbsp;was organized by the University of Toronto in 2013&nbsp;He has participated in several residencies, including the Robert Rauschenberg Foundation Residency (2016), Bemis Center for Contemporary Art (2014), and the Kohler Arts Industry (2012/2014)&nbsp;&nbsp;His work can be found in a number of notable collections, including The Museum of Arts and Design (NYC), The John Michael Kohler Art Center, The Museum of Wisconsin Art, The National Gallery of Canada, the Frederick R. Weisman Art Foundation (Los Angeles), and the Art Gallery of Nova Scotia.

David R. Harper: Good Morning Sweetheart

Mystic Meadows is an ethereal exhibition with dark undertones. Featuring work from four Swedish artists - Hanna Liljenberg, Karin Roy Andersson, and Märta Mattsson and Sofia Bjorkman - the exhibition addresses themes of repetition, transience, rebirth, and the tension that lies between beauty and decay.&nbsp;

Mystic Meadows

Friday evening, July 10, 5 to 8 PM. “All Terrain”, a landscape group show featuring Brooks Anderson, Mark Flickinger, Paula Blackwell, and others. River North Mid-Summer Gallery Walk, 5-8pm. On view through Sept 2nd, 2026.

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