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

New England…has recently posited itself as a grand signifier in my existence as a jewelry artist. It is learning about New England’s seminal history as the seat of the American Industrial Revolution, the undeniable gravity to the founding of this nation, its growth and ultimate dissolution, and the remnants and detritus that are informing my current work. My formative years were spent in southern California where cultural imprints positioned me in a liminal existence between prejudice and privilege. I am half Black and half White. Living in a middle-class suburb of Los Angeles and visiting my father in socio-economically and racially divided South Central Los Angeles impacted my identity as a young person searching for which culture to occupy and how. Ultimately, I realized the choice itself provided me with a tool of social leverage.&nbsp;—Tanya CraneResponding to her own biracial background, Tanya Crane imbues her enamel, metal, and found object jewelry with reflections on history, resiliency, migration, community, adornment, humanity, identity, family, and heritage.&nbsp;As she considers how traditions shift across space or through time, Crane creates patterns that echo designs of global Indigenous makers. This exhibition features jewelry inspired by historical adornment in RAM’s permanent collection—specifically, incised metal bracelets and neckpieces from West Africa that were used as currency. Objects like this were exchanged within trade or barter networks, not only for local agricultural and luxury products but also in transatlantic slave trade negotiations. This potential compelled Crane to cautiously move forward with her explorations.As she states, “The research for my jewelry encompasses both a response to my immediate landscape and my family stories relative to the impacts of the Great Migration. It is through this lens that I interact with and respond to the museum’s collection, contextualizing that historical work through a contemporary lens and providing a dynamic framework to investigate the past in the present.”Crane’s artwork metaphorically embodies the many layers of human existence—specifically, history, race, class, and culture. Through her practice, she reaches into the past to better understand the present and, potentially, the future. As a contemporary jeweler, Crane centers mark-making, patterns, and material choice to build the content in her individual pieces, and doesn’t shy away from using scale to create bold statements. The sgraffito technique she often employs means she carves through one layer of information to get to another—literally uncovering and exposing what has come before.In 2022, RAM invited Crane—who was teaching at the School of the Museum of Fine Arts at Tufts University, and has since moved back to her home state of California—to consider making work in response to a small selection of historical African pieces in the museum’s collection. Crane’s personal investment in using jewelry to make connections and her stated interest in the history of adornment made her a good candidate for this provocative project—she was ready to consider tackling the metaphorical weight of these metal historical objects that once functioned very differently than they do in a museum collection.<h5> </h5>Tanya Crane received her MFA in Metalsmithing + Jewelry from the University of Wisconsin–Madison and her BFA in Metal from the State University of New York at New Paltz. Crane is an Assistant Professor of 3D Foundations, Jewelry and Sculpture at Long Beach City College. Named a 2024 United States Artist Fellow in Craft, she was selected in 2023 to be an inaugural recipient of the Center for Craft’s Teaching Artist Cohort. Crane was also a recipient of The Doris Prouty Foundation Artist Grant—offered to BIPOC/AAPI women artists in Massachusetts and North Carolina to further their artistic activity and practice. She was the 2018 Society of North American Goldsmith’s Emerging Artist and selected to present at SOFA Chicago, as well as the 2017 winner of the Society of Arts and Crafts–Boston Artist Award.Crane’s work is in the collections of the Arkansas Museum of Fine Arts, Little Rock, AR; Museum of Fine Arts, Boston; Museum of Fine Arts, Houston; National Ornamental Metal Museum, Memphis, TN; Philadelphia Art Museum; Springfield Museum of Art, Springfield, OH; Yale University Art Gallery, New Haven, CT; and Racine Art Museum.

Tanya Crane: Embodied Histories—Exploring the Legacy of African Jewelry

<a href="https://nmprac.org/exhibitions/three-generations-intertwined-by-lace/" rel="noopener noreferrer" style="color: rgb(13, 13, 13);" target="_blank">Details</a> An Intergenerational Fashion Exhibition Tracing the Evolution of Lace in Puerto Rican Design This March, in celebration of Women’s History Month, the&nbsp;National Museum of Puerto Rican Arts and Culture (NMPRAC)&nbsp;proudly presents&nbsp;Three Generations Intertwined by Lace, a spectacular exhibition honoring the artistry, innovation, and global impact of three generations of Puerto Rican designers. Opening to the public on Saturday, March 14, 2026, the exhibition pays tribute to the late&nbsp;Mili Arango, alongside celebrated designers&nbsp;Lisa Cappalli&nbsp;and&nbsp;Cecilia Fernández Cappalli, whose work collectively traces the evolution of lace in Puerto Rican fashion. Curated by&nbsp;Joseph Da’Ponte, President of the Puerto Rican Fashion History Council, the exhibition features more than 50 extraordinary garments that illuminate how lace—long a symbol of elegance, femininity, and craftsmanship—has been preserved, transformed, and reimagined across generations. From Mili Arango’s iconic mid-century silhouettes to Lisa Cappalli’s refined and timeless collections, and now to Cecilia Fernández Cappalli’s contemporary leadership as Creative Director of Cappalli New York, the exhibition tells a powerful story of lineage, mentorship, and innovation. Together, these women have elevated Boricua design onto international stages while remaining rooted in cultural tradition. “This exhibition is a tribute to the beautiful Puerto Rican tradition of lacework—lovingly preserved, reimagined, and carried from our island to the world,” said Veronica Ocasio, Director of Education, Exhibitions, and Programming at NMPRAC. “During Women’s History Month, we proudly honor the artistry, vision, and resilience of the remarkable family of women featured in&nbsp;Three Generations Intertwined by Lace. This exhibition celebrates not only exquisite craftsmanship, but also the enduring, intergenerational power of Puerto Rican creativity that continues to shape homes, fashion, and runways around the world.” For curator Joseph Da’Ponte, the exhibition is both historic and deeply personal. “This exhibition is a testament to three generations who have preserved and transformed the tradition of lace in fashion,” he noted. “Through their work, lace becomes more than fabric—it becomes memory, heritage, and artistic evolution.” As the only Puerto Rican museum in the diaspora, NMPRAC continues its commitment to uplifting Puerto Rican artists, cultural leaders, and creative pioneers.&nbsp;Three Generations Intertwined by Lacepositions fashion as both fine art and cultural archive—an embodiment of resilience, preservation, and legacy.

Three Generations Intertwined by Lace

The Ukrainian Institute of Modern Art (UIMA) is pleased to present their next exhibition:&nbsp;Voices From the Gray Zone, a documentary photography and video exhibition by Chicago-based photographer and artist Eric Bladholm, with a public reception on&nbsp;Saturday, September 19, from 12 to 4 PM. Compiled over nine extensive humanitarian aid trips to Ukraine between 2022 and 2026, Voices From the Gray Zone&nbsp;documents daily life under russian aggression in some of the regions most affected by occupation and war. Presented as a timeline of photographs and video, the exhibition traces the struggles, resilience, and increasingly dangerous conditions faced by Ukrainian civilians and communities on the ground. Bladholm's work bears witness to the people of Ukraine, giving voice to those russia has sought to silence through violence and oppression. The exhibition offers Chicago audiences a rare, firsthand visual record from an artist who has repeatedly traveled into the country during wartime, building direct relationships with the communities he photographs.Slava Ukraini!&nbsp;Glory to Ukraine! Exhibition Details:Voices From the Gray Zone&nbsp;Opening Reception: Saturday, September 19, 12–4 PMUkrainian Institute of Modern Art, 2320 W. Chicago Ave., Chicago, IL 60622 About the Ukrainian Institute of Modern Art:The Ukrainian Institute of Modern Art (UIMA) preserves and promotes contemporary art as a shared expression of the Ukrainian and American experience. UIMA develops, utilizes and encourages artistic talent through exhibitions, concerts, readings, lectures and films to serve the cultural needs of our community and city, and thereby strengthen cultural understanding and diversity. About Eric Bladholm:Eric Bladholm is a Chicago-based photographer, artist, and master glassworker whose documentary work focuses on humanitarian and conflict-affected communities. Since 2022, he has made nine extended trips to Ukraine to document the human impact of the war.

Eric Bladholm: Voices From the Gray Zone

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 href="https://u7061146.ct.sendgrid.net/ls/click?upn=u001.gqh-2BaxUzlo7XKIuSly0rC-2Fc4ce2SDpH5WBMhYM8Lg3vMPQs5XAbZCZ0FrT4y8DV5IAx5_a1zzESVdmgLIQ4rlql6kbXT9QXaGGWYBxHAPtO1QqWO5GLp4idxebnEhHBD62Papsj-2FEMdnG4nN1Qo796g0RxGgCD6tZhe9AwtUHIFq1tAylqDj842HkNV4wYVNY4xw2XiPRSDLBolCKLsmz4mAfXyTKdAWEBNXMZS2HPTyW9tzh76eJPxtoS3TeCfWde-2FWTR36oITD8AJ2o16OioU6rZzSVhUtY-2FQMgnv00UizvWdkF-2F6vDGFX8RjYZ6VxGE9RjaFP3GxOchTBy9JEhqw0aRDSSQKKZ9o5ocAwD09kINSqSLHBx-2FwnUgD-2BEf05TldTsoQY4IIsvjRN-2FDK-2FrtXNjUU2iL2upL7H53VA7YA-2BwQHU-3D" rel="noopener noreferrer" style="color: rgb(0, 0, 255);" target="_blank">website</a>&nbsp;for related exhibition programming. Tickets go on sale in February.

CHIHULY

<a href="https://qjxtjxbbb.cc.rs6.net/tn.jsp?f=001nAIZ-KMiam2OpI8hS2Bd0Nhy8lSL7FMNN1UATmQ0pRUkVywPaObBRk0aAmP5O8eoBSAfOIrLb5BSDuHX_dq13YezX5OJykN_Dd3oWhhUnv476xT2_epW-2O5l1_EbI3jfsSUh7FqH2q9Vr9j5SqGYKDr2mXnMyrS8YITi3r-2mk=&amp;c=4Q-fZ_8tWuBqZs6su9ripqUSRmVfYp3tSPOuBnICkBerqjSK6p-8JA==&amp;ch=EZs2hgl8M_oS5zH5F8Z3oQ5jipfyJAjbgUUSHnasG3c4NGDZ2alqRw==" rel="noopener noreferrer" target="_blank">Karla Wong: Journeys of Being</a>&nbsp;is on view September 3. Wong’s oil paintings are a love letter to her Mexican culture. They are interwoven with her life experiences as a trans woman, a person of Mexican and Chinese heritage, and of the journeys between her homes in the United States and Oaxaca.&nbsp;&nbsp;Traditional Oaxacan clothing and landscapes integrated with subtle odes to Chicago landmarks are often included in Wong’s paintings. Symbolic elements are hidden throughout each painting: balloons representing the unborn, birds for male genitalia, and apples and pears for forbidden fruit. Her vivid, dreamlike compositions, which evoke Victorian and Surrealist styles, are interlaced with themes of life and death, self discovery, and gender identity, and frequent portal archway motifs lead to mysterious places. Wong’s work portrays the beauty and harsh realities of being true to oneself.&nbsp;“Karla Wong’s paintings are encoded with references to her life experiences as a Mexican immigrant and as a trans woman,” said Christina Stavros, exhibition curator and Intuit’s associate curator. “We’re excited to share this vibrant and important work with our community and hope it inspires reflection, connection and a deeper understanding of Wong’s experiences and perspective.”&nbsp;You’re invited to celebrate&nbsp;Karla Wong: Journeys of Being&nbsp;with the artist and the Intuit Art Museum community.&nbsp;Enjoy Mexican cocktails, bites, and a live performance by world-renowned singer and friend of the artist, Geo Meneses. After a toast to the artist, make your way to the exhibition to celebrate the work and the artist behind it.&nbsp;Museum admission and reception are free.<a href="https://qjxtjxbbb.cc.rs6.net/tn.jsp?f=001nAIZ-KMiam2OpI8hS2Bd0Nhy8lSL7FMNN1UATmQ0pRUkVywPaObBRvsXa2_hKzebE3SFUG0brwEuFVzxHB-Cfq35Y5C2c245DsnNptKIhOKBrgIt6ulYNTX8rprrnuSnV6FKYqVxbmCUnFIpSwFLoPQleCGtZUZ4KBzoEDf-jiwyam66ye8TPFpJ4JwwULB0gk9OZqUdwIol0OxsePezGA==&amp;c=4Q-fZ_8tWuBqZs6su9ripqUSRmVfYp3tSPOuBnICkBerqjSK6p-8JA==&amp;ch=EZs2hgl8M_oS5zH5F8Z3oQ5jipfyJAjbgUUSHnasG3c4NGDZ2alqRw==" rel="noopener noreferrer" target="_blank">Reserve your ticket now</a>Image credit: Karla Wong (Mexican, b. 1974).&nbsp;The Catrina Comes to Chicago (La catrina llega Chicago), 2026. Oil on canvas, 48 x 36 in. Collection of the artist

Karla Wong: Journeys of Being 

Frank Buffalo HydeCourtney M. LeonardNeepa Hyde

Pocket Full of Shells

Fireworks in the Rain explores the coexistence of apparent opposites: fragility and&nbsp;strength, luminosity and weight, monumentality and delicacy. The exhibition seeks to reveal the poetry of contradiction and the beauty found in&nbsp;nuance. Image: Eunseok Han,&nbsp;Necklace, recycled aluminum, sterling silver, copper, agate, 2026.

Fireworks in the Rain

Sep 19, 2026–Jan 18, 2027 Jill Mulleady paints by breathing new life into unseen histories.&nbsp; Drawing from art-historical, cinematic, and literary sources, her memorable images can haunt the viewer long after encountering them. This exhibition—Mulleady’s first solo show at a major museum—brings together approximately 20 paintings by the artist. Mulleady uses various methods including staining, and at times incorporating materials such as copper, to achieve fragile, luminous surfaces that feel impossibly thin yet visually deep, holding tension between flatness and depth. Not limited to canvas or linen, she employs a range of supports, including glass and velvet. The resultant works balance different degrees of transparency and opacity and can be looked at and, sometimes, seen through. Mulleady’s paintings often depict scenes that are enigmatic and dangerous, showing figures at risk or under threat—from appetite, predation, or compulsion. While these ambiguous scenes may imply narratives, they likewise refuse tidy resolutions. Her imagery draws actively on painting lineages—allegory and the Baroque, Symbolist unease, the grotesque—recasting genres and canonical images for the present. In contrast to the purity and rationality of 20th-century modernism, Mulleady prioritizes a tradition in which chaos, instinct, and history drive art making. As Mulleady has said, she works with existing languages in order to invent a new one, and her staged tableaux are particularly resonant within the Art Institute galleries, as they&nbsp;rhyme with many works in the collection that have informed the artist.&nbsp; Jill Mulleady: The Passenger&nbsp;is curated by Giampaolo Bianconi, Dittmer Associate Curator, Modern and Contemporary Art. Image: Maldoror,&nbsp;2025Jill MulleadyCourtesy of the artist and Gladstone. Photography by Nicolas Brasseur

Jill Mulleady: The Passenger

Since the 1980s, the John Michael Kohler Arts Center has built a remarkable collection of Asian textiles, including works from Bengali kantha, Hmong-Miao paj ntaub, and Japanese boro traditions. While these practices developed in different regions and cultures, they share common themes of resourcefulness, care, and storytelling through cloth.<a href="https://us.list-manage.com/pnUEGGLwsr2?e=62e89a6c87&amp;c2id=edfb4aca6fcc01b3e5cc7350834d6f24" rel="noopener noreferrer" style="color: rgb(0, 0, 0);" target="_blank">When Threads Meet, They Speak</a> brings these textile traditions into conversation for the first time, highlighting the connections and distinctions that emerge through their materials, techniques, and histories. Often created by women in rural communities, these works transform worn fabrics into objects of beauty and utility, carrying generations of creativity, resilience, and cultural knowledge within every stitch. <a href="https://us.list-manage.com/xDUrCcgR1W_?e=62e89a6c87&amp;c2id=edfb4aca6fcc01b3e5cc7350834d6f24" rel="noopener noreferrer" style="color: rgb(0, 0, 0);" target="_blank">View the Exhibition</a>

When Threads Meet, They Speak

Bergman Family GalleriesKenzi Shiokava&nbsp;is the first museum solo exhibition dedicated to artist Kenzi Shiokava (b. 1938, Santa Cruz do Rio Pardo, Brazil; d. 2021, Los Angeles), gathering over fifty sculptures made across five decades, from the 1970s to the 2010s. A second-generation Japanese Brazilian, Shiokava departed São Paulo in 1964—narrowly evading the military coup d’état—and relocated to Los Angeles just months prior to the 1965 Watts Riots. After earning a BFA from the Chouinard Art Institute (now California Institute of the Arts) and an MFA from the Otis Art Institute (now Otis College of Art and Design), he spent the next fifty years working with found materials in Los Angeles while serving as a longtime artist-in-residence at the storied Watts Towers Arts Center, where his peers included assemblage artists John Outerbridge, Noah Purifoy and Betye Saar.Through intuitive acts of carving and arranging, Shiokava unearthed what he described as the “inner movement” of discarded objects, revealing their spiritual vitality and reinvigorating them with life. Deeply attuned to his materials, which ranged from telephone poles to plastic toys, Shiokava allowed them to guide his sculptural process, which he compared to archeology—both patient practices of excavation, recovery and revelation. Reflecting the artist’s career-long embrace of wood carving and assemblage, the exhibition is anchored by two core bodies of work: abstract totems meticulously sculpted from wood and enigmatic box installations animated by miniature figurines, dried plants and stones. The exhibition also underscores the transcultural nature of Shiokava’s practice, which melds the aesthetic sensibilities of wood carving in Japan, assemblage in South Los Angeles and multiple belief systems, including Candomblé, Catholicism and Zen Buddhism.Kenzi Shiokava&nbsp;is organized by Nolan Jimbo, Assistant Curator.

Kenzi Shiokava

Explore the many roles animals have played in artistic expression for millennia. Through diverse media, artists depict animals as subjects of labor and companionship, symbols of the natural world, and figures of imagination that blur the boundaries between reality and myth. Organized into three thematic sections—domesticated, wild, and fantastical—Among the Beasts traces how cultural values, environmental perspectives, and storytelling traditions shape these representations.

Among the Beasts: Wild, Tamed & Imagined

<h3>October 31, 2026 – January 31, 2027</h3>Among the Beasts&nbsp;explores the many roles that animals have played in artistic expression for millennia. Through diverse media, artists have depicted animals as subjects of labor and companionship, symbols and recordings of the natural world and spiritual beliefs, and figures of our imagination, traveling between reality and myth. Organized into three thematic sections—wild, domesticated, and fantastical—Among the Beasts&nbsp;traces how cultural values, environmental perspectives, and cultural traditions shape these representations.&nbsp;Drawing entirely from the permanent collection of the Kalamazoo Institute of Arts,&nbsp;Among the Beasts&nbsp;spans centuries, continents, and vast/varied artistic traditions. Ancient pre-Columbian gold pendants, Japanese netsuke, Chinese scrolls, African sculpture, European and American prints, and contemporary paintings and photographs reveal the remarkable diversity of ways animals appear in art. Together, these works demonstrate that animals are far more than artistic subjects—they are a mirror of human beliefs, identity, wonder, and creativity. Across time and place, artists continue to use animals to understand both the world around us and the stories we tell. <a href="https://www.kiarts.org/exhibition/among-the-beasts-wild-tamed-imagined/" rel="noopener noreferrer" target="_blank">Details</a>

Among the Beasts: Wild, Tamed, & Imagined

Cutting and Pasting a World: The Paper Craft of Henry Darger&nbsp;April 22, 2026 to January 31, 2027&nbsp;IAM joins in the celebration of the 250th anniversary celebration of American craft, Handwork 2026, organized by Craft in America, with an exhibition exploring the connection between Henry Darger’s art and traditional American paper crafts. Drawing on research by guest curator and art historian Dr. Mary Trent(College of Charleston), the exhibition illustrates how the turn-of-the-century practices of making paper dolls and paper dollhouse scrapbooks may have influenced Darger’s evolution as an artist and maker. By showcasing both finished artworks and original source materials, the exhibition demonstrates how Darger adapted these humble pastimes into sophisticated methods for constructing large-scale, mixed-media narratives. The exhibition provides context for these crafts within the early 20th-century movement to instill middle-class American "taste" in a burgeoning immigrant population. Likely exposed to these practices within social welfare institutions as a child, Darger ultimately subverted them—transforming decorative domestic crafts into a profound and complex commentary on the vulnerabilities of marginalized children.&nbsp;&nbsp;IAM joins in the celebration of the 250th&nbsp;anniversary celebration of American craft,&nbsp;<a style="color: rgb(70, 120, 134);" rel="noopener noreferrer" href="https://www.handwork2026.org/" target="_blank">Handwork 2026</a>,&nbsp;organized by&nbsp;<a style="color: rgb(70, 120, 134);" rel="noopener noreferrer" href="https://www.craftinamerica.org/" target="_blank">Craft in America</a>, with an exhibition exploring the connection between Henry Darger’s art and traditional American paper crafts. Drawing on research by guest curator and art historian&nbsp;Dr.&nbsp;Mary Trent (College of Charleston), the exhibition illustrates how the turn-of-the-century practices of making paper dolls and paper dollhouse scrapbooks may have influenced Darger’s evolution as an artist and maker. By showcasing both finished artworks and original source materials, the exhibition demonstrates how Darger adapted these humble pastimes into sophisticated methods for constructing large-scale, mixed-media narratives. The exhibition provides context for these crafts within the early 20th-century movement to instill middle-class American "taste" in a burgeoning immigrant population. Likely exposed to these practices within social welfare institutions as a child, Darger ultimately subverted them—transforming decorative domestic crafts into a profound and complex commentary on the vulnerabilities of marginalized children.&nbsp;

Cutting and Pasting a World: The Paper Craft of Henry Darger

Hyde Park Art Center is excited to partner with the Veteran Art Movement, Chicago Cultural Center, Elmhurst Art Museum, and Walls Turned Sideways for the 2026 Veteran Art Triennial and Summit. The Hyde Park Art Center chapter&nbsp;Shifting Horizons&nbsp;considers land, migration, and decolonization through ideas informed by thinkers like Frantz Fanon and Harsha Walia. The exhibition invites reflections on how borders shape experience, how people navigate systems of control and resistance, and the uncertain landscapes that emerge amid ongoing struggles. The 2026 Veteran Art Triennial and Summit,&nbsp;Resisting the Long Wars, organized by curators Aaron Hughes, Mohamed Mehdi, Meranda Roberts, and Amber Zora, highlights artists’ creative defiance of war and militarism.

Veteran Art Triennial - RESISTING THE LONG WARS: Shifting Horizons 

Called “Floating Flowers” by Thomas Haneman, these fantastical botanical paintings, richly toned and wildly inventive, could be specimens from outer space, underwater, or some sort of Eden. Positioned out-of-space and time, they joyously spring from his canvases, unfettered by nature or science. Many of them face away from the viewer, growing in the direction of an unseen source of light or energy. After emerging from a long and crippling depression, and inspired by his garden, Haneman’s subjects appear like synapses, the fresh sparks in his brain, brought on by his new-found happiness and excitement for life. They are the visual result of his healing, synaptic displays of joy. His paintings bear reference to seventeenth-century Dutch still-life and eighteenth-century botanical illustrations, while feeling atemporal and contemporary.

Floating Flowers

Bringing together selections from the KIA’s collection spanning nearly 200 years, and contemporary fashion objects from the Barrett Barrera Projects collection, Statement Pieces: Fashioning the Self &amp; Society explores how self-presentation and expression have been presented, shaped, and reimagined. From Alexander McQueen to James Van Der Zee, groupings of representational and abstract artworks, displayed alongside runway fashions, invite viewers to consider the dynamic between one’s exterior appearance and inner life—between what is seen and what is self-defined.

Statement Pieces: Fashioning the Self & Society

<h2>NOVEMBER 7, 2026 - FEBRUARY 7, 2027</h2>Fashion and the visual arts, particularly portraiture, share a common vernacular. Both practices frame the body, and in doing so, shape how personhood is constructed, perceived, and valued within culture. These artistic practices do more than present appearances; they mediate agency, authorship, and visibility. As a result, dress and the visual arts become sites where identity, including the construction of the feminine, is staged, negotiated, and at times contested. Statement Pieces: Fashioning the Self &amp; Society&nbsp;brings together selections from the collection of the Kalamazoo Institute of Arts (KIA) spanning nearly 200 years and contemporary fashion objects from the Barrett Barrera Projects collection to explore how self-presentation and expression have been presented, shaped, and reimagined. From Alexander McQueen to James Van Der Zee, groupings of representational and abstract artworks, alongside fashion, invite viewers to consider the dynamic between one’s exterior appearance and inner life—between what is seen and what is self-defined. Organized in conjunction with Barrett Barrera Projects. <a href="https://www.kiarts.org/exhibition/statement-pieces-fashioning-the-self-society/" rel="noopener noreferrer" target="_blank">Details</a>

<h3>November 21, 2026 – February 14, 2027</h3>Drawn from the renowned collection of Jeffrey and Carol Horvitz, this exhibition presents contemporary and modern Japanese tea bowls and water jars inspired by the traditions of the tea ceremony. Through variations in form, glaze, and texture, the works highlight both the enduring influence of chanoyu and the innovation of postwar Japanese ceramics.

Chanoyu: Modern Tea Ceramics from the Horvitz Collection

<a href="https://nmprac.org/exhibitions/our-island-of-treasures-puerto-rican-voices-from-indiana/" rel="noopener noreferrer" target="_blank">Details</a> Curator:Daniel Del Real “These are the treasures we carry with us — across oceans, across generations, and into every place we call home.” Our Island of Treasures: Puerto Rican Voices from Indiana&nbsp;brings together the work of the&nbsp;¡WEPArt! Colectivo, a collective of ten Puerto Rican artists based in Indiana, united by a shared passion for celebrating, preserving, and exploring their cultural identity.&nbsp; This exhibition was born from a desire to challenge disparaging narratives about Puerto Rico and its people by celebrating the treasures of&nbsp;La Isla del Encanto. Rather than defining the island through moments of crisis or misconception,&nbsp;Our Island of Treasures&nbsp;reframes Puerto Rico as a place of extraordinary cultural, historical, ecological, and artistic abundance. Through visual storytelling, the artists share the profound connections they hold with the island’s people, history, landscapes, and spirit, bringing those experiences to audiences across Indiana, the Midwest, and beyond.&nbsp; Each ¡WEPArt Colectivo! member offers a distinct artistic perspective that contributes to a vibrant and meaningful collective voice. Working across a rich tapestry of mediums, the artists explore themes of memory, ancestry, migration, folklore, resilience, ecology, and belonging. Their works celebrate Puerto Rico’s natural beauty, cultural heritage, and evolving identity – particularly as experienced from afar. Together, the exhibition forms a rich tapestry of artistic expression that reflects both individual journeys and a shared cultural inheritance. While each artist tells its own story, collectively they affirm that Puerto Rican identity is not confined by geography but continues to evolve wherever Puerto Ricans preserve their culture, build community, and create. This exhibition is presented by&nbsp;The National Museum of Puerto Rican Arts and Culture&nbsp;in partnership with ¡WEPArt! Colectivo.&nbsp;

Our Island of Treasures: Puerto Rican Voices from Indiana

The Smart Museum of Art is honored to present&nbsp;<a href="https://smartmuseum.uchicago.edu/exhibitions/teamlab-everything-exists-in-infinite-continuity/?mc_cid=7d709976d5&amp;mc_eid=a6ad3ea4a5" rel="noopener noreferrer" target="_blank">teamLab: Everything Exists in Infinite Continuity</a>. The exhibition marks the international art collective’s first major institutional presentation in the midwestern region. &nbsp;<a href="https://uchicago.us2.list-manage.com/track/click?u=aba2086a45b4ee8391b89447b&amp;id=660a8f7cbb&amp;e=a6ad3ea4a5" rel="noopener noreferrer" target="_blank"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1789673932/rzuvsaat8bpowdnsoqjn.jpg" height="auto" width="612"></a> The art collective teamLab is renowned for creating immersive digital art installations exploring themes of perception and consciousness. Based in Tokyo, teamLab’s artworks draw upon wide ranging experimentation with art created through digital technology. Central to teamLab’s work is their aim to explore the relationship between the self and the world and using technology in new ways to explore perception, with an emphasis on individualized perception in a collective experience. Founded in 2001 by Toshiyuki Inoko, teamLab has grown into an international collective comprised of hundreds of artists, scientists, computer programmers, mathematicians, and architects, among others. teamLab: Everything Exists in Infinite Continuity&nbsp;is the first exhibition of teamLab in the Midwest and traces the collective’s artistic trajectory over the last twenty-five years. It presents some of teamLab’s most iconic artworks as well as new work made specifically for this exhibition. In doing so, it explores how teamLab has experimented with and expanded their use of digital technologies to create environments that blur the boundary between the viewer and the artwork. Fall Exhibition OpeningSaturday, October 3rd2:00–5:00 pm Celebrate the Smart's new fall exhibitions,&nbsp;teamLab: Everything Exists in Infinite Continuity,&nbsp;Nina Chanel Abney: Between Us, and&nbsp;How Do We Heal?. The opening reception will include music, hors d’oeuvres, and a themed cocktail.&nbsp; This program is free and open to all; RSVP is encouraged.&nbsp; <a href="https://us.list-manage.com/jGc6cNTyz27?e=a6ad3ea4a5&amp;c2id=3a4d5daac20b4519a6f4b77114bff5af" rel="noopener noreferrer" style="background-color: rgb(255, 255, 255);" target="_blank">Register Here</a> <a href="https://uchicago.us2.list-manage.com/track/click?u=aba2086a45b4ee8391b89447b&amp;id=306ff82845&amp;e=a6ad3ea4a5" rel="noopener noreferrer" target="_blank">Read the Exhibition Listing</a>

teamLab: Everything Exists in Infinite Continuity

Drawn from the distinguished collection of Jeffrey and Carol Horvitz, Chanoyu (pronounced chan-o-you) presents a focused selection of contemporary and modern Japanese tea bowls and water jars that honor and reinvent the traditions of the tea ceremony. Through subtle variations in form, glaze, and texture, these works reveal the enduring influence of chanoyu while embracing the individuality of postwar ceramics studio practices.

<a href="https://www.chicago.gov/city/en/depts/dca/supp_info/to_be_remembered.html" rel="noopener noreferrer" target="_blank">DETAILS</a>Chicago Cultural Center, Chicago Rooms, 2nd Floor NorthCurated by: Mya LewisBetween the folds of this world, lingering pieces of one’s own gossamer, narrative threads lay waiting to be unearthed and held.To Be Remembered: Woven Matters of the Heart&nbsp;embraces the reflective ways in which five contemporary textile artists illuminate their rich interior worlds through their unique fiber practices. The artists: ebere agwuncha, Nnaemeka Ekwelum, Hale Ekinci, Josué Esaú, and Thương Hoài Trần each visually intertwine time, memory, and emotion to conjure deeply felt histories across spatial geographies, venerating the cultural traces that connect us to the motherlands.Embedded in their designs and motifs, the artworks’ layered meanings preserve cultural continuity through extensive research that awakens their ancestors’ legacies and gifts. The works create new pathways to becoming closer to one another, communicating how we become and become undone within the ever-changing cycles of life. Skillfully made by hand, the artists guide us in how we learn to weave our own personal mythologies.The magic in life is apparent, and we invite you to find it within. Friday, August 21, 20264-7 p.m.&nbsp;Opening ReceptionChicago Rooms, 2nd Floor North Saturday, September 19, 20262 p.m.&nbsp;Artist TalkChicago Rooms, 2nd Floor North Saturday, October 3, 202612:30-2 p.m.&nbsp;meditation on: sculptural portals, a visual lecture by ebere agwunchaClaudia Cassidy Theater, 2nd Floor NorthThrough exploring familial archives, local collections, and diasporic memories, this presentation will expand the site-specific&nbsp;sculptural portals&nbsp;created by the artist, ebere agwuncha, for the exhibition&nbsp;To Be Remembered: Woven Matters of the Heart.&nbsp;sculptural portals&nbsp;incorporate oral histories from agwuncha’s parents, who immigrated from Nigeria to Chicago in the 1980s, alongside traditional Igbo craft to expand the significance of art-making through an active archiving practice. This event offers a deeper dive into the research and personal history behind agwuncha’s installation, giving the audience an intimate look into an artist’s process. Saturday, October 17, 2026Noon - 2 p.m.&nbsp;Woven Vessel Workshop with ebere agwunchaChicago Rooms, 2nd Floor NorthThe&nbsp;Woven Vessel Workshop&nbsp;invites creatives of all skill levels to learn basket weaving techniques to craft a unique functional object. This workshop is facilitated by ebere agwuncha, a transdisciplinary artist from Chicago. Visitors will have the opportunity to make a woven basket and utilize beads as adornment for their work. Supplies are provided and are limited for the event. Saturday, December 5, 2026Noon - 2 p.m.&nbsp;Weaving Workshop with Thương Hoài TrầnChicago Rooms, 2nd Floor NorthJoin us for an accessible, hands-on weaving workshop that utilizes affordable materials such as cardboard and secondhand yarn. This workshop explores how to approach weaving without a specialized loom, making the process more accessible to beginners and those without access to traditional weaving equipment. Friday, December 11, 2026Noon - 2 p.m.&nbsp;Weaving Workshop with Thương Hoài TrầnLearning Lab, 1st Floor SouthJoin us for an accessible, hands-on weaving workshop that utilizes affordable materials such as cardboard and secondhand yarn. This workshop explores how to approach weaving without a specialized loom, making the process more accessible to beginners and those without access to traditional weaving equipment.&nbsp; Image: Kỷ Niệm Ngày Cưới: Burgundy and Gold, Thương Hoài Trần, 34" x 28", 2021. Photo credit: Thương Hoài Trần;

To Be Remembered: Woven Matters of the Heart

Colombian artist Beatriz González (1932–2026) is widely known as&nbsp;la maestra&nbsp;in her home country. Beyond the literal translation of “teacher,” the term is used as a mark of respect for someone who has achieved a remarkable impact in a particular field. In González’s case, it acknowledges her roles as an artist, historian, curator, and mentor, whose importance transcends national boundaries and continues to resonate on a global scale. Beatriz González: In Series and Full Color&nbsp;is the first retrospective dedicated to the drawings and prints of González, whose practice spanned more than six decades until her passing earlier this year. The exhibition explores her use of appropriation and repetition as both formal and conceptual strategies to reflect critically on the circulation of images, notions of taste, and her country’s recent history.&nbsp; The exhibition begins in 1965 with a pivotal moment that reoriented the artist’s approach to mass media imagery. González encountered a photograph in a newspaper of a couple who had died by suicide and was drawn to the image’s printing distortions, caused by the fact that it had itself been reproduced from another newspaper. Fascinated by these effects, González painted her own interpretation of the portrait. With this work,&nbsp;The Suicides of Sisga, González began transgressing the languages and subject matter deemed appropriate within the fine arts context in Colombia. From that moment on, her “deliberately clumsy” compositions both revealed a command of drawing and printmaking techniques and signaled a rebellion against convention. González went on to create a vast art-historical archive, reinterpreting canonical works of art, images from newspaper crime pages, commercial prints, and figures from popular culture. By the mid-1980s, the tone of her work shifted toward questioning presidents and military leaders, while also registering the often anonymous victims of political violence and climate disasters, as well as some of Colombia’s most tragic events. Her work challenges the fleeting cycle of images, opening a space for memory and collective grief. In Series and Full Color&nbsp;brings together more than 80 works from across González’s career, including drawings, prints, sketches, sketchbooks, objects, and a selection of archival materials. The survey also marks the first time some of these works will be presented to the public.The exhibition’s title is inspired by the Spanish expression “¡ahora en serie y a todo color!” (“now in series and full color!”)—originally used to promote the transition of a comic strip into an animated series with the advent of color television. The idiom evokes both the vibrancy of González’s palette and the continued urgency of her themes. Beatriz González: In Series and Full Color&nbsp;is curated by is curated by Mark Pascale, Janet and Craig Duchossois Curator, Prints and Drawings, and Felipe Villada Ruiz, senior research associate, Prints and Drawings. Image: <a href="https://www.artic.edu/artworks/273692/illustrated-news-la-actualidad-ilustrada" rel="noopener noreferrer" style="color: rgb(181, 9, 56);" target="_blank">Illustrated News (La actualidad ilustrada), 1973</a>Beatriz González

Beatriz González: In Series and Full Color

The triennial program, created by Hyde Park Art Center in the mid-1990s, facilitates a fun and accessible commissioning process that builds lasting relationships between artists and patrons, creates a new base of support for artists, and invests in the vitality of Chicago’s cultural community.&nbsp;Not Just Another Pretty Face&nbsp;cultivates collectors, who are essential to the ecosystem that artists need to thrive, by embracing and encouraging the concept of patronage in contemporary art. Artists need not only collectors but also a community of people who know, support, and value what they do. To date, the Art Center has raised nearly&nbsp;$2,000,000&nbsp;through this program—half of which goes directly to artists, with the other half supporting Art Center programs. Through&nbsp;Not Just Another Pretty Face,&nbsp;375+&nbsp;original works&nbsp;of art have been commissioned by&nbsp;275&nbsp;new and established collectors&nbsp;interested in investing in Chicago’s artists. This exhibition will showcase the nearly&nbsp;100 new artworks&nbsp;made in this year’s iteration of this popular program.

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