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

Mau Mau is a renowned British urban graffiti artist who’s gained an international following with his humorous street, print and graffiti work. He incorporates political, environmental and cultural commentary to his work – often with his trademark character of a mischievous and fun loving Fox. With roots planted in surf and country vibes of the North Devon coast, Mau Mau brings an air of rural sophistication to the art he has been creating for twenty years. He has painted his way around the world, his artwork appearing on everything from shipwrecks to surfboards and billboards to city walls. Mau Mau has produced work for World Land Trust, Greenpeace, Surfers Against Sewage and the Glastonbury Festival, and for record companies such as Ninja Tunes and Lowlife Records. He is the architect of cult brands Sewerside Boardwear and Fear Trade. His street work can also been seen all over the world including the UK, Jamaica, Thailand and Australia. He has had sold out exhibitions in the UK, Japan and Thailand.

Mau Mau Solo Show

Monica J. Brown

Vicinity 2025

As a part of the Elevate series at 21c Chicago, Tom Burtonwood presents Recurring, three elements of his ongoing project “A Cube is a Rectangle.” Gallery 3 features a large gridded wall installation of over 200 of Burtonwood’s signature “Würfel” drawings. Adjacent to the gallery two large “Würfels” crafted from mixed media materials including hydrocal, paint, soil, and natural fibers hang side by side. Accompanying these two-dimensional works is a new single-channel stop-frame animation of his unfolding cube motif. Burtonwood’s series “A Cube is a Rectangle” reflects on the idea that true repetition is not mechanical or identical, but that it can be ”productive”—it creates something new each time. This contrasts with what Gilles Deleuze calls "generality," where repetition is based on sameness, predictability, and equivalence (like in a clock ticking or mass production). In contrast, “real” repetition occurs on a deeper, ontological level: it is singular, evental, and tied to difference.

Tom Burtonwood: Recurring

April Showers bring May Prints! Spring is in the air and our next show will soon be on the walls. Come to the Opening Reception on Friday, April 4th from 4pm-9pm for a first look at this selection of gorgeous prints by artists from all over the country. Featured Artists:﻿Jaquelee Chit Yu ChauTodd ChristensenErin DiGiovanniJohn HitchcockNikki Jabbora-BarberMei Lam SoBen NathanAndy RubinJandey ShackelfordCerese Vaden

Favorite Things

Huguette Caland:&nbsp;Bribes de corps&nbsp;presents painted works by the Lebanese artist whose life and career traversed decades, continents, and media, defying both aesthetic and social conventions of her time and place. Bringing together a significant corpus of works that have rarely been seen together, the exhibition focuses on the body of work that Caland produced while living in Paris in the 1970s, the&nbsp;Bribes de corps&nbsp;[“Body Bits”] and constitutes the largest presentation of the series to date.Caland’s own body and her preoccupations with its size and its pleasures motivated much of her work throughout this period, and this exhibition introduces the languages—sometimes joyful and sometimes pain-ridden—she cultivated in shape and color to speak of her experience alongside those of other bodies. The artist also played with what Western art history categorizes as the diametrically opposed poles of abstraction and figuration, rendering the distinction between color and line indiscernible, subject positions and parts indecipherable, and making normative or binaristic gendering unimaginable even as the body parts she painted often transform into landscapes or blend into the haze of color fields.The work is contextualized in relationship to debates about gender and sexual norms in both France and Lebanon during the time. It concludes with a more recent painting from the artist’s late series of tapestry-like paintings, which bring her interest in the body and its surroundings to full force through a painterly idiom that borrows from the techniques and cultures of&nbsp;tatreez, or Palestinian embroidery. The exhibition also includes a selection of three embroidered dresses, which Caland designed and wore, and which consolidate the relationship between art and flesh in her practice. The exhibition is made possible by the Smart Family Foundation through a grant to the Ambition Fund of The Arts Club of Chicago.This exhibition is curated&nbsp;by Hannah Feldman,&nbsp;Keith L. and Katherine Sachs Associate Professor of Contemporary Art, University of Pennsylvania. During the run of the exhibition, The Arts Club will host two public programs in the gallery: Thursday June 5Evening Public Program: Visual ArtJanine Mileaf gives an Exhibition Tour of&nbsp;Huguette Caland: Bribes de corpsProgram 6:00 pm 20th-century painter Huguette Caland (1931–2019), whose paintings made in Paris in the 1970s are now on view in the gallery at The Arts Club of Chicago, is also the current subject of a grand-scale retrospective at the Reina Sofia in Madrid. Join Arts Club Executive Director and art historian Janine Mileaf for a guided tour of the exhibition at The Arts Club.&nbsp; Free and Open to All. Limited Capacity. Register&nbsp;<a rel="noopener noreferrer" href="https://artsclubchicago.us7.list-manage.com/track/click?u=502da7c1672081e981f967563&amp;id=465efb6f8d&amp;e=e3c33543d7" target="_blank">here</a>. Thursday July 31Evening Public ProgramBody Bits: poetry, prose and performance in the galleryProgram 6:00 pm In celebration of the landmark exhibition,&nbsp;Huguette Caland: Bribes de corps, The Arts Club of Chicago collaborates with MAKE Literary Productions to co-curate an evening of readings on the theme “Body Bits,” a loose translation of the exhibition’s title. Text-oriented artists in a variety of genres will perform alongside Caland’s evocative body of work with their own ruminations on bits, bumps, lumps, and the occasional humps here and there. Free and open to all. Register&nbsp;<a rel="noopener noreferrer" href="https://artsclubchicago.us7.list-manage.com/track/click?u=502da7c1672081e981f967563&amp;id=5324a49e08&amp;e=e3c33543d7" target="_blank">here</a>. Image: Self Portrait (Bribes de corps), 1973, oil on linen. Courtesy Huguette Caland Estate

Huguette Caland Bribes de Corps

DePaul Art Museum announces the opening of its spring exhibition, “Christina Fernandez: Multiple Exposures.” This show surveys the work of Fernandez, a Los Angeles-based artist who from the late 1980s to the present has conducted a rich exploration of migration, labor, gender, and her Mexican American identity through photography. “Multiple Exposures” will open March 20 and run until Aug. 3 at the museum, located on DePaul University’s Lincoln Park Campus.&nbsp; “DePaul Art Museum is pleased to bring the work of Christina Fernandez to Chicago audiences this spring as a continuation of our commitment to highlighting Latinx stories in our exhibitions and programs,” said Laura-Caroline de Lara, director of DPAM. “This exhibition grapples with themes that ring true in Chicago as well as LA. We hope that the conversations that spring out of the Chicago iteration of the show and its programming will create new geopolitical and cultural understandings for our university students and neighbors.” Bringing together the artist’s most important bodies of work for the first time, Fernandez’s retrospective highlights the experiences of Mexican Americans, from border-spanning family histories to contemporary “lavanderías,” or laundromats. Fernandez also portrays the realities of being an artist, professor, and mother through series that acknowledge both the beauty and the instability of a creative life.&nbsp; The exhibition’s title, “Multiple Exposures,” refers not only to a photographic technique but also to the artist’s revealing of that which is often hidden away, including fraught racial histories and the mistreatment of precarious communities. The exhibition evokes the artist’s self-exposure as a woman and the vulnerability of certain communities to exploitation and displacement. Whether staged or candid, Fernandez’s photographs record touch and mark-making, engaging the medium’s distinct ability to convey surfaces — the surfaces of bodies, architecture, and the images themselves.&nbsp; “Christina Fernandez brilliantly weaves self-portraiture, family history, the built environment and broader Latinx narratives into her work,” said Ionit Behar, curator. “Her photography illuminates the rich complexities of Latinx identity and invites viewers to actively engage with the layers of her imagery."&nbsp; Planned programs include an exhibition walkthrough with Fernandez, a family-oriented workshop on self-portraiture as part of DPAM’s Learning Studio ongoing Family Day series, a panel with local artists on Chicago Latinx photography and a podcast interview with the artist to be released in partnership with the Museum of Contemporary Photography at Columbia College Chicago.&nbsp; The traveling exhibition is organized by UCR ARTS and curated by Joanna Szupinska, senior curator at the California Museum of Photography; Chon Noriega, distinguished professor of film, television, and digital media at UCLA, is the curatorial advisor. Behar organized the presentation of this exhibition at DPAM. This exhibition was made possible by grants from The Andy Warhol Foundation for the Visual Arts and the National Endowment for the Arts. DePaul Art Museum’s iteration of the exhibition and accompanying programs is generously supported by the Teiger Foundation and Vincentian Endowment Fund. An opening reception will be held on March 20 from 6 – 8 p.m.&nbsp; ﻿Image credit: Christina Fernandez, "Lavanderia #1," 2002. Archival pigment print. From the series Lavanderia. Courtesy Los Angeles County Museum of Art, Ralph M. Parsons Foundation.

Christina Fernandez: Multiple Exposures

Summer Group Exhibition including:Flor FloresDaniel HojnackiD. Rosen

Summer Group Exhibition: Flor Flores, Daniel Hojnacki, and D. Rosen

While traditional museum etiquette expects visitors to observe from a distance, RAM’s 2025 community art show invites guests to break from convention by interacting with the art directly. Activating the senses beyond sight alone, museum-goers are encouraged to make emotional—and physical—connections by getting up close and personal with community-created pieces. Explore the galleries by feeling, trying on, adding to or subtracting from, listening to, or smelling works specifically created to awaken the senses. Image: RAM’s Charles A. Wustum Museum of Fine Arts, Photography: Jessica Zalewski

Awakening the Senses: Art that Invites Interaction

2025 Curatorial Fellowship Exhibition

Early prototypes of 3D printers can be traced back to the 1980's in Japan, but not until more recently have we seen contemporary jewelers incorporating this technology into their creative practices. Three international artists -&nbsp;Eve Balashova, Lynne MacLachlan, and Ryungjae Jung - each utilize this modality of creating, exemplifying what it means to bring 3D printed jewelry to the highest standard. On June 5, 2025 you're invited to see the exhibition in person while enjoying a glass of champagne and charcuterie! Try the work on and chat with our knowledgeable team members about contemporary art jewelry. This event is free and open to the public.

Wearing Technology

Paul Segedin and Karen Perl

Palestinian Artist in Residence, Taki Spateen

Line Weight 

July 26 – August 15 CSI Project Space: New works by Jyl Bonaguro, Darlys Ewoldt and Stephanie Sailor

CSI Project Space: New works by Jyl Bonaguro, Darlys Ewoldt and Stephanie Sailor

Guest curated by Wendy Ewald, Susan Meiselas, and Laura Wexler, along with Kristin Taylor, MoCP Curator of Academic Programs and CollectionsThis exhibition will feature works in the MoCP permanent collection that are included in the recent and groundbreaking publication titled&nbsp;Collaboration: A Potential History of Photography.&nbsp;The book&nbsp;was created by a group of artists, art historians, activists, and scholars—Ariella Aïsha Azoulay, Wendy Ewald, Susan Meiselas, Leigh Raiford, and Laura Wexler—and published by Thames and Hudson in 2024. It is an extension of a project that these five authors have collaborated on for over ten years, in which they reassess a range of photographs and projects that portray stories of humanity and social movements to decenter the photographer as the only author of the image, and to emphasize the act of photographing as an inherently collaborative process in which many parties are involved. By sharing both artists’ statements and excerpts from interviews with people depicted in photographs, they question whether memories align: Did both sides remember the moment in the same way? How did the photographed feel about the photograph’s life after it circulated through art markets, print media, and online? And what role might the photograph have played in perpetuating harmful or liberatory narratives about specific histories, places, or individuals?The works—both historical and contemporary—are presented in clusters focused on topics,&nbsp;to highlight and propose questions about photographed moments of coercion, friendship, exploitation, community, and violence.&nbsp;The exhibition will also feature a reflection space for the audience engagement, as part of the project’s ongoing effort to consider the history of photography as a living and evolving entity that is unfixed and expanding as we learn more about the people, communities, and histories that images depict.MoCP is supported by Columbia College Chicago, MoCP Advisory Board, Museum Council, individuals, private and corporate foundations, and government grants.The 2024–2025 exhibition season is sponsored in part by the Efroymson Family Fund, Henry Nias Foundation, The Rowan Foundation, Phillip and Edith Leonian Foundation, Pritzker Traubert Foundation, Comer Family Foundation, and Venable Foundation. It is partially supported by a CityArts grant from the City of Chicago Department of Cultural Affairs and Special Events and 21c Museum Hotel, Chicago. MoCP acknowledges support from the Illinois Arts Council.This project is generously supported through the David C. and Sarajean Ruttenberg Impact Fund for Photography and the Westridge Foundation.&nbsp;

Collaboration: A Potential History of Photography in Dialogue with the MoCP Collection

Alex Chitty

April Behnke: Mind Games

Carmen Winant

Care is both love and labor—nurturing, repairing, and sustaining ourselves, others, and our communities. This exhibition builds on feminist histories of care work, recognizing its often invisible, gendered, racialized, and classed dimensions. ﻿Juror:&nbsp;<a rel="noopener noreferrer" href="https://womanmade.us10.list-manage.com/track/click?u=77610ec6940e4a7c0d652a863&amp;id=803ad95985&amp;e=a3993dd90f" target="_blank">Kristen Carter</a>

Acts of Care: Nurturing the Present, Shaping the Future

CROSSINGS&nbsp;traverses the Museum’s campus and features several dynamic vehicle sculptures by Bernard Williams in Wilder Park, Hostetler Gallery and large paintings in the McCormick House. Through the artworks on view, the artist addresses the concept of mobility as both the physical movement forward and the human aspiration to rise to better circumstances.The Chicago-based artist has been making public murals and sculptures for over thirty years. Bold thick lines and generalized, flat shapes common in graphic illustration define his unique and playful sculptural style. Williams often researches and highlights little known or forgotten narratives in history to make his sculptures, paintings and murals, which offer new perspectives on the engineering innovations of the past and how they impact contemporary culture. The works are also a tribute to Black achievement in transportation and agriculture throughout American history. Pilot Bessie Coleman, NASCAR driver Wendell Scott, and the recent Black Farmers’ Settlement are some of the histories being honored in this exhibition. For Elmhurst, Williams also recognizes the lifetime achievements of the local NASCAR winner, Fred Lorenzen (1934-2024).CROSSINGS&nbsp;runs concurrently with the exhibition&nbsp;Legacies: New Views of the Elmhurst Art Collection, which features Williams’ small sculptures from the collection of Cleve Carney, along with dozens of other artists in the Museum’s collection.Curated by Allison Peters Quinn. Image: Bernard Williams, Route 27, painted plywood, aluminum, 6 x 6 x 20 feet. Photography by Michelle W.C. Anderson&nbsp;

CROSSINGS by Bernard Williams

The&nbsp;Driehaus Museum&nbsp;is proud to announce&nbsp;Rory McEwen: A New Perspective on Nature, an exhibition exploring the trailblazing career and legacy of Scottish artist Rory McEwen, whose work is considered one of the major turning points in the development of contemporary botanical art. Presenting over one hundred works, including sculpture and manuscripts, the exhibition reveals how McEwen forged his own personal interpretation of 20th century modernism, portraying flowers, leaves, and vegetables as individual subjects worthy of their own portraits. Establishing McEwen’s role in shaping new generations of artists, the exhibition also features the work of contemporary botanical artists who&nbsp;continue to&nbsp;shape&nbsp;McEwen’s&nbsp;artistic&nbsp;legacy today.&nbsp;Rory McEwen: A New Perspective on Nature&nbsp;will be on view at the Driehaus Museum,&nbsp;50 E. Erie Street&nbsp;from&nbsp;May 16 to August 17, 2025.&nbsp;McEwen’s vibrant paintings balance the scientific detail of traditional botanical art with a modernist perspective influenced by other visual artists of his time. A student of the Old Masters as well as his contemporaries, McEwen developed a distinctive style over the course of his career, painting on vellum and using large empty backgrounds on which his plant portraits seem to float. In his paintings, he forged his own personal interpretation of twentieth-century modernism, portraying individual flowers, leaves, and vegetables as subject matter, “as a way of getting as close as possible to what I perceive as the truth, my truth of the time in which I live.” By encompassing a rare ability to see a plant as more than “just” a plant—to imbue his paintings with a sense of his subject’s “soul”—his techniques have had a lasting impact on botanical artists today. McEwen was a modern-day Renaissance man, whose artistry extended to sculpture, poetry, and most notably, music, where he was a successful folk revival musician and host of the popular 1960’s music show, “Hullabaloo!”“We are pleased to welcome audiences to the Museum this summer with an exhibition that invites us to approach our natural surroundings with curiosity and wonder and to feature an artist who is lesser known on these shores but who embodies the kind of excellence the Museum celebrates,” says&nbsp;Driehaus Museum Executive Director&nbsp;Lisa M. Key. She continues, “McEwen’s&nbsp;naturalistic paintings will echo the organic forms and ornamentation throughout our historic interiors.At the Driehaus Museum, we are committed to special exhibitions that bring visitors new perspectives and this exhibition hits that mark.”“The ability to give&nbsp;life and luminosity to a spectrum of emotions is what gives Rory McEwen’s art those qualities that distinguish it from the ordinary,” says&nbsp;Ruth L. A. Stiff, guest curator. “As Rory McEwen conceded to Wilfrid Blunt, his drawing master at Eton, ‘I have never really been interested in botanical illustration per se, but rather in that moment when painting starts to breathe poetry.’ “Rory McEwen: A New Perspective on Nature&nbsp;offers viewers&nbsp;an&nbsp;unparalleled&nbsp;context&nbsp;to&nbsp;explore McEwen’s pioneering artistic vision. The exhibition presents works by McEwen alongside works by the 17th&nbsp;and 18th&nbsp;century painters whom he studied—such as Nicolas Robert, Pierre Joseph Redouté, Georg Dionysius Ehret, and Claude Aubriet—as well as early illuminated manuscripts and folio volumes drawn from the Mellon Collection, Oak Spring Garden Foundation, and the RoyalBotanic&nbsp;Gardens,&nbsp;Kew.&nbsp;It includes works on loan from McEwen’s family as well as works drawn from numerous private collections, most of which have never been seen by the American public. Loans&nbsp;from&nbsp;the&nbsp;extensive&nbsp;contemporary&nbsp;botanical collection of British botanist and philanthropist, Dr. Shirley Sherwood, showcase contemporary artists following in McEwen’s techniques and styles.As part of&nbsp;Rory McEwen: A New Perspective on Nature, the Driehaus Museum will partner with local institutions across exhibits and programs, including Brushwood Center at Ryerson Woods, Chicago Botanic Garden, the Morton Arboretum, the Old Town School of Folk Music, and the Peggy Notebaert Nature Museum. The Driehaus Museum will also be participating in the Magnificent Mile Association’s annual Tulip festival with a special presentation of tulips and a tulip sculpture in the Museum’s garden.Rory McEwen: A New Perspective on Nature&nbsp;is&nbsp;generously supported by the&nbsp;Driehaus Trust Company, LLC., the Kovler Family Foundation, and Barbi and Tom Donnelley. Additional support provided by&nbsp;Friends of&nbsp;Rory McEwen.The exhibition is curated by Ruth L. A. Stiff, Curator of International Exhibitions, Royal Botanic Gardens, Kew (London) and accompanied by a full-color catalogue produced by the Oak Spring Garden Foundation. It is presented in association with the Oak Spring Garden Foundation (Virginia) and the Royal Botanic Gardens, Kew with tour management by Landau Traveling Exhibitions, Los Angeles, CA. Major support is provided by the Gerard B. Lambert Foundation. The Driehaus Museum is the final U.S. institution to host the exhibition, which included the Gibbes Museum of Art in Charleston, South Carolina; the Davis Museum at Wellesley College, Massachusetts; and the Society of Four Arts in Palm Beach, Florida.&nbsp; ABOUT THE ARTISTRory McEwen (1932-1982) grew up in Scotland as the third of seven children at Marchmont House, the family’s Palladian stately home, where he learned to draw flowers from an early age encouraged by his French governess, who instructed him in drawing from nature. He was influenced by 17th&nbsp;and 18th-century French flower painters throughout his education at Eton, including visits to the Royal Library at Windsor Castle, and his continued studies at Trinity College, Cambridge. After serving with the British Army, he discovered his passion for art. Initially a blues musician, McEwen toured the U.S. in 1956 with his brother Alexander, recording an LP for Smithsonian Folkways Records and appearing twice on the Ed Sullivan show. Back in Britain, he became known as a guitarist and singer, appearing nightly on the BBC’s&nbsp;Tonight&nbsp;show and produced, presented, and performed on the seminal music program,&nbsp;Hullabaloo. However, from 1964 until his death in 1982, McEwen focused solely on his work as a visual artist, known for his detailed work on vellum with watercolors. His posthumous 1988 exhibition at the Serpentine Gallery in London is considered one of the pivotal turning points in the development of contemporary botanical art, and his techniques have had a lasting impact on botanical artists today. McEwen’s&nbsp;work&nbsp;can&nbsp;be&nbsp;found&nbsp;in&nbsp;private&nbsp;and&nbsp;public&nbsp;collections&nbsp;across&nbsp;the&nbsp;globe,&nbsp;including&nbsp;the British&nbsp;Museum;&nbsp;Victoria&nbsp;and&nbsp;Albert&nbsp;Museum;&nbsp;Tate;&nbsp;National&nbsp;Gallery&nbsp;of&nbsp;Modern&nbsp;Art,&nbsp;Scotland; Fitzwilliam&nbsp;Museum,&nbsp;Cambridge;&nbsp;Hunt&nbsp;Institute,&nbsp;Pittsburgh;&nbsp;andMuseum&nbsp;of&nbsp;Modern&nbsp;Art,&nbsp;New&nbsp;York. ABOUT THE DRIEHAUS MUSEUMThe Driehaus Museum engages and inspires the global community through exploration and ongoing conversations in art, architecture, and design of the late nineteenth and early twentieth centuries. Its permanent collection and temporary exhibitions are presented in an immersive experience within the restored Nickerson Mansion, completed in 1883, at the height of the Gilded Age, and the Murphy Auditorium, built in 1926. The Museum’s collection reflects and is inspired by the collecting interests, vision, and focus of its founder, the late Richard H. Driehaus. For more information, visit&nbsp;<a style="color: windowtext;" rel="noopener noreferrer" href="http://www.driehausmuseum.org/" target="_blank">driehausmuseum.org</a>&nbsp;and connect with the Museum on&nbsp;<a style="color: windowtext;" rel="noopener noreferrer" href="https://www.facebook.com/pages/Driehaus-Museum/362867207176025" target="_blank">Facebook</a>,&nbsp;<a style="color: windowtext;" rel="noopener noreferrer" href="https://twitter.com/DriehausMuseum" target="_blank">Twitter</a>, and&nbsp;<a style="color: windowtext;" rel="noopener noreferrer" href="https://www.instagram.com/driehausmuseum/" target="_blank">Instagram</a>.

Rory McEwen: A New Perspective on Nature

Museum's Permanent Collection Over time, the Museum has acquired a unique assortment of paintings, prints, sculptures and drawings with a concentration of late 20th Century American Art and Mid-Century Design. The exhibition delves into the connections between the artworks and the people who once owned them to present&nbsp;Legacies. Much of EAM’s collection is the result of personal relationships between artist, artwork, collector, and Museum. This exhibition draws these relationships into focus, inviting visitors to understand the artwork not just as an isolated piece, but as part of a larger, ongoing narrative that includes culture, history, and personal legacy.Small installations presented across the galleries will feature a colorful array of artworks from the EAM collection while addressing the nature of collecting. How do collectors choose the works they put in their collection? Visitors can gain insight into what might have drawn certain collectors to types of works or specific artists.Image credit: Liz Chilsen

Legacies: New Views of the Elmhurst Art Museum's Permanent Collection

On April 17 from 6-8pm The Poetry Foundation will host a poetry reading, artist talk, and reception to celebrate the opening of the exhibition Escaramuza, the Poetics of Home. Free and open to all. The opening will feature an artist talk by Jaeggi, followed by readings by Sáenz and Silva, and closing with a celebratory reception featuring music by Sones de México Ensemble.&nbsp; A window into the subculture of Mexican American women’s equestrian performance, presented through poetry and photography, Escaramuza is a collaborative work by photographer Constance Jaeggi and poets Angelina Sáenz and ire’ne lara silva. The exhibition explores escaramuza, the team sport of women’s precision horse riding, addressing complex themes of identity, family, and gender with a lush combination of poetry and photography.&nbsp; Escaramuza, translated from Spanish as “skirmish,” is the team sport of women’s precision horse riding within charrería—the Mexican national sport of roping, equestrian activities, and working with cattle. Inspired by the soldaderas (women soldiers) of the Mexican Revolution, teams ride sidesaddle during intricately choreographed dances set to music while wearing vivid, traditional Mexican dresses. Image: Photograph by Constance Jaeggi, courtesy of the Poetry Foundation&nbsp;

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