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

Wine Reception 6:00pm | Program 6:30Filmmaker and theater artist Derek Spencer imagines three would-be lovers paralyzed by their fantasies. Utilizing Oren Pinhassi’s sculptures in The Arts Club of Chicago’s gallery as inspiration, architecture, and scene-partner, Spencer’s film, 𝘈𝘯𝘥 𝘋𝘰 𝘍𝘰𝘳 𝘏𝘦𝘳 𝘞𝘩𝘢𝘵 𝘏𝘦 𝘞𝘰𝘶𝘭𝘥 𝘋𝘰 𝘍𝘰𝘳 𝘔𝘦, constructs a shape-shifting love-triangle without resolution. The newly-commissioned, site-specific work is presented as a three-channel triptych and accompanied by a collaboratively-devised vocal score. Before and after the screening, Spencer sits down with fellow filmmaker Sid Branca to discuss process and background. Join for a wine reception from 6:00 – 6:30pm before the program.Sliding Scale Tickets available from $5 – 20 per person on-site (includes a drink ticket), complimentary remote viewing.Cast &amp; Crew:Devised and Performed by Rahila Coats, Nic Eastlund, Zachary NicolDirector of Photography - Eon MoraLine Producer/Vocal Coach - Katie MazziniGaffer - Maximilian VanderwerfFirst Assistant Camera -Taylor Brady<a href="https://us.list-manage.com/lz9XYqI_Iyo?e=e3c33543d7&amp;c2id=862ae2c1bcef2b7ceb1b01f686f9f68e" rel="noopener noreferrer" target="_blank">Register Here</a>

Derek Spencer’s And Do for Her What He Would Do For Me Debut Screening of a New Film Commissioned by The Arts Club

<a href="https://tnxbinhbb.cc.rs6.net/tn.jsp?f=001Rno48du2XKNGZv0kmxo6I-i_5GsUVB3q-yH2lCwRqAT-EsZjDAYAQ2PR00YXbJQsxb7NINg6dNnaIVhyMALeGYZ6qJUoYR6VPW-erO2W2o_gRY1D9a512PU-5K_39mDr3YvxN_pcqA9qxcccvcZkALjLnfR_VhXC-mbsyyIc7lc2xMjnNFo1gN1P7kjghgnMMW6A8o_H8J_5ryZ7LeKK44fJ3KJ2joxBjPTDOZ5MCkshgizSsjr-USZJDYsfGdaU-WEI18LWbsc=&amp;c=Ybe2_q451B18_Da2mEuXxDXcLqOaLDhQfyAEGPIb5czCldGVyA5amQ==&amp;ch=ymKqTsYIbk9-VcvqyLiVdGXGE7ekMRU8Gz_PVKW5h59kPJjNy8HYtA==" rel="noopener noreferrer" target="_blank">Moving Identities: 16 Voices of Belonging</a>. Congratulations to 2021 Resident&nbsp;<a href="https://tnxbinhbb.cc.rs6.net/tn.jsp?f=001Rno48du2XKNGZv0kmxo6I-i_5GsUVB3q-yH2lCwRqAT-EsZjDAYAQ2PR00YXbJQsYf-tO4QyqaWd382s6FV2lbPtoudKhtTSRvOWfOq_u1WlhJcp-pik7whNcSWb-54jzDhutqh9487VDoEfeUIV-T-V3CXkU4ZwXDrIhusKxp8=&amp;c=Ybe2_q451B18_Da2mEuXxDXcLqOaLDhQfyAEGPIb5czCldGVyA5amQ==&amp;ch=ymKqTsYIbk9-VcvqyLiVdGXGE7ekMRU8Gz_PVKW5h59kPJjNy8HYtA==" rel="noopener noreferrer" target="_blank">Cristobal Alday</a>, 2023 Resident&nbsp;<a href="https://tnxbinhbb.cc.rs6.net/tn.jsp?f=001Rno48du2XKNGZv0kmxo6I-i_5GsUVB3q-yH2lCwRqAT-EsZjDAYAQ2PR00YXbJQsSJGHxO5W9qVkrBMijlG8jpffPveq7gCB1-EdHcZ8mt4y_AhYDXxfntd-jjLhC5OKmpv8zo6NNLHXx6MWN6fhgByV5vHbqEIqGpxeVduGhuyZ2eUT5PzB_a_j0d_sw-Z_BCM7C8YuDyg=&amp;c=Ybe2_q451B18_Da2mEuXxDXcLqOaLDhQfyAEGPIb5czCldGVyA5amQ==&amp;ch=ymKqTsYIbk9-VcvqyLiVdGXGE7ekMRU8Gz_PVKW5h59kPJjNy8HYtA==" rel="noopener noreferrer" target="_blank">Armando Román</a>, 2024 Resident&nbsp;<a href="https://tnxbinhbb.cc.rs6.net/tn.jsp?f=001Rno48du2XKNGZv0kmxo6I-i_5GsUVB3q-yH2lCwRqAT-EsZjDAYAQ2PR00YXbJQsCLsFQJWLx5McXZv_7v4HiPWKaUivimueFXkaCiiVtnlEhbiHuaht6ilvkLyYa8erkvjIoWG6ces7uYATEE0-reATLvSDsnqkBMy5FydJMzylV2eJNz_rAor8dqPWreFsGbwkYxi0y4vuyShsjx1EScUvE9rbfzD8&amp;c=Ybe2_q451B18_Da2mEuXxDXcLqOaLDhQfyAEGPIb5czCldGVyA5amQ==&amp;ch=ymKqTsYIbk9-VcvqyLiVdGXGE7ekMRU8Gz_PVKW5h59kPJjNy8HYtA==" rel="noopener noreferrer" target="_blank">Jairo Granados-Cardenas</a>, 2025 Resident&nbsp;<a href="https://tnxbinhbb.cc.rs6.net/tn.jsp?f=001Rno48du2XKNGZv0kmxo6I-i_5GsUVB3q-yH2lCwRqAT-EsZjDAYAQ2PR00YXbJQs4Z-uV5wZ-UeTtDPeTnyUQPQlzIXr4x9Mk2ncH6TQLp9LxGpLnWIEN2-FbH7mF3xch5RGNth4cGgDyq51zELKQhn0Ii7TLN2Jd5dGl4sOpe-opQRdtLRVxPGuYDW-UZ27fX_TvJqKTU953FyS7DFpSA==&amp;c=Ybe2_q451B18_Da2mEuXxDXcLqOaLDhQfyAEGPIb5czCldGVyA5amQ==&amp;ch=ymKqTsYIbk9-VcvqyLiVdGXGE7ekMRU8Gz_PVKW5h59kPJjNy8HYtA==" rel="noopener noreferrer" target="_blank">Miguel Limón</a>, and 2025 Resident&nbsp;<a href="https://tnxbinhbb.cc.rs6.net/tn.jsp?f=001Rno48du2XKNGZv0kmxo6I-i_5GsUVB3q-yH2lCwRqAT-EsZjDAYAQ2PR00YXbJQsNrGgU629D6rcMqTzXTXNusf2Unntl3n6x23xQp1H-cHE1SPDX8pVAUTaBc9fiZQ_KB25vBdcojnBWxr14P9-5q0Pgq2jzoQUwYn9BCIlZr0P5f3_hMA1H5GKngmCe2inDVPd3f5ai8-ym2mtvQZ9xA==&amp;c=Ybe2_q451B18_Da2mEuXxDXcLqOaLDhQfyAEGPIb5czCldGVyA5amQ==&amp;ch=ymKqTsYIbk9-VcvqyLiVdGXGE7ekMRU8Gz_PVKW5h59kPJjNy8HYtA==" rel="noopener noreferrer" target="_blank">Carina Vargas-Nuñez</a>&nbsp;on being included!Viewings every Thursday, Saturday, and SundayClaudia Cassidy Theater Lobby, Chicago Cultural Center in partnership with the Consulate General of Mexico in Chicago |&nbsp;78 E Washington St, Chicago, IL 60602

Moving Identities: 16 Voices of Belonging

Our Free Days Are Taking The Night Shift! From March through November, we’re returning to Free First Tuesdays! On the first Tuesday of every month, enjoy extended hours from 5:00 pm to 8:00 pm - admission is free for all, no residency restrictions.

Free First Tuesday

Step into the sharp, subversive world of satire, past and present, in this lively panel inspired by the Driehaus Museum’s exhibition&nbsp;Ink &amp; Outrage: 18th-Century Satirical Prints in London &amp; Dublin. Using the exhibition as a springboard, writers and contributors from&nbsp;The Onion&nbsp;and&nbsp;The New Yorker&nbsp;will bring the conversation into the present day, exploring how satire is crafted, circulated, and received in today’s fast-moving media landscape.&nbsp; This discussion focuses on the enduring mechanics of satire, its targets, its techniques, and its cultural impact. Panelists will reflect on how their own practices echo (or diverge from) historical traditions, revealing how, in many ways, the more things change, the more they stay the same.&nbsp; Moderated by Colin Barr of the University of Notre Dame, whose scholarship bridges Irish and English history, the conversation offers audiences a unique opportunity to connect the incisive humor of the 18th century with the satirical voices shaping public discourse today. Whether you’re a longtime fan of contemporary satire or newly curious, this program invites you to see both past and present with fresh eyes.&nbsp; About the Panelists Colin Barr (Moderator)&nbsp;is professor of modern Irish history in the Keough School of Global Affairs at the University of Notre Dame and the Thomas Moore and Judy Livingston Director of the Keough School’s Keough-Naughton Institute for Irish Studies. Barr was born in Canada and raised in the United States. He holds a B.A. from Stonehill College and a Ph.D. from the University of Cambridge, and has held academic appointments in Ireland, the United States and the United Kingdom. Barr’s work seeks to place the history of the island of Ireland and its peoples in the widest possible context, including that of the United Kingdom, the continent of Europe, the Roman Catholic Church and the global Irish Diaspora.&nbsp; Tom Bachtell&nbsp;is a freelance cartoonist and caricaturist and illustrator. His distinctive drawings appeared in The New Yorker’s Talk of the Town section for 25 years, and he contributes regularly to the New York Review of Books. His work also appears in Politico and i-D Magazine. Tom illustrated Bag Man (Crown 2020) by Rachel Maddow, and recently published his first children’s book, The WhyBecause Book - Das Warum-Weil Buch in Germany (Tanja Langer 2025).Mike Gillis&nbsp;is head writer for The Onion. He’s also written for The New Yorker, The Atlantic, McSweeney’s Internet Tendency, Tricycle, ClickHole, and the Supreme Court (in the form of a recent amicus brief in defense of parody and free speech).&nbsp; Rob Knoll&nbsp;is a staff writer at The Onion. He has also written for the website ClickHole.

Exploring Satire with The Onion and The New Yorker

In partnership with the Natural Resources Defense Council (NRDC), MoCP welcomes Gina Ramirez, NRDC Director, Midwest Environmental Health; Joel Scata, NRDC Environmental and Administrative Law Attorney; and Senator Graciela Guzman for an exhibition tour and panel discussion about the role artists, advocates, attorneys, and politicians play in addressing climate change.&nbsp;Join MoCP on&nbsp;Thursday, August 6, from 6-8pm, for a program centered on collective climate action. Beginning with a short, curator-guided tour of the exhibition, participants will engage with images of environmental crisis before moving into a facilitated conversation focused on local climate issues in Chicago.&nbsp;The program culminates in collective action, where guests will write and send postcards to local and state policymakers calling for stronger protections around water infrastructure, climate resilience, and environmental justice. Prompts, key issues, and contact information will be provided, helping participants take immediate, tangible steps toward climate advocacy while contributing to a shared civic effort.MoCP is located on the ground level of 600 S Michigan Ave, Chicago, IL, with entrances on Michigan Ave. and Harrison St. Pay-to-park parking is available along Harrison St and Wabash Ave.&nbsp;To learn more about the NRDC, please visit their website at&nbsp;<a href="https://us.list-manage.com/yAYL5xwzF7r?e=62775191de&amp;c2id=cdd3adab8542c3aac22b43fb5b24395c" rel="noopener noreferrer" target="_blank">nrdc.org</a>.

MoCP Collective Climate Action NRDC Panel Discussion and Exhibition Tour on August 6

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

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

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 

Explore the role of satire as a visual record of social mores, tastes and opinions on fashionable dress with Alex Aubry, Director of SAIC’s Fashion Resource Center.

Mad Fashions, Stylish Eccentrics, & Those Who Satirized Them

Bert Green Fine Art&nbsp;is pleased to present our second solo show by Chicago-based artist and printmaker&nbsp;Deborah Maris Lader.A skilled artist and printmaker who constantly explores experimentation with a vast array of other materials,&nbsp;Deborah Maris Lader’s newest work extends the printed image off the page via animations, sculptural techniques, and automata. Using mechanistic props, light and space, she devises a diverse menagerie of beings, creatures from the inner workings of Lader's creative brain.All gallery events are free and open to the public. Additional information found at the gallery website at&nbsp;<a href="https://bgfa.us./" rel="noopener noreferrer" target="_blank">https://bgfa.us.</a>&nbsp;Image: Deborah Maris Lader, Becoming, Hand operated automata, mixed media interactive object: printers proofs, wire, cardboard, beads, 11 x 5 x 4" , 2026

Deborah Maris Lader: We Become Birds

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

This summer, the&nbsp;Driehaus Museum&nbsp;presents&nbsp;Ink &amp; Outrage: 18th&nbsp;Century Satirical Prints in London &amp; Dublin,&nbsp;an exhibition that explores the wit and graphic brilliance displayed by English graphic satirical artists such as James Gillray (1765-1815) and Thomas Rowlandson (1757-1827) to lampoon civics, society, and culture in Georgian London. The exhibition places original prints in dialogue with plagiarized works by artists in Ireland, evoking conversations about piracy, originality, and reproduction that have become more relevant than ever today. Organized by guest curators&nbsp;Silvia Beltrametti&nbsp;and&nbsp;William Laffan&nbsp;and following its debut at the Irish Architectural Archive in Dublin in 2025,&nbsp;Ink &amp; Outrage: 18thCentury Satirical Prints in London &amp; Dublin&nbsp;takes place at the Driehaus Museum, 50 E. Erie Street, from&nbsp;May 15 to September 13, 2026.&nbsp;Now ubiquitous in Internet meme culture and modern-day satire, the groundbreaking use of image and text during the Georgian period was a powerful form of storytelling, holding those in power accountable, and fostering bonds between classes and communities.&nbsp;Ink &amp; Outrage: 18th&nbsp;Century Satirical Prints in London &amp; Dublin&nbsp;includes approximately 100 original prints and features loans from The William A. Gordon Library of British Caricature, the collection of the O’Brien family, and the Richard H. Driehaus Art Exhibition Lending Foundation.The exhibition places original prints alongside plagiarized works made in Ireland,&nbsp;where copyright law of images did not apply and business for replicas flourished. These pirated copies provoked historic debates around authorship and plagiarism that set the stage for current conversations around artificial intelligence, intellectual property, and mass reproduction today.In the context of the Driehaus Museum, the exhibition presents Georgian satirical prints as a vital precursor to the art, architecture, and ideas that shaped the United States during the Gilded Age. The works reflect the visual and political culture of an influential period in Britain and Ireland that went on to inform American taste and civic life.&nbsp;Executive Director of the Driehaus Museum&nbsp;Lisa M. Key&nbsp;says, “Ink &amp; Outrage: 18th&nbsp;Century Satirical Prints in London &amp; Dublin&nbsp;is a model for meaningful international collaboration, strengthening the Museum’s commitments to rigorous scholarship, shared stewardship, and cross-cultural exchange.&nbsp;We hope visitors see the trajectory from these early forms of satire to the present day, and the importance of satire as a public forum for debate and connection.” Co-curator&nbsp;Silvia Beltrametti&nbsp;adds, “Caricature is the intellectual vehicle that speaks truth to power in the fastest, funniest, and most piercing way possible. Behind the blasts of color in these prints lie a remarkable copyright story-- free from the legal constraints, Irish publishers could copy original productions from London.”Major support for this exhibition is provided by the Driehaus Trust Company, LLC. ABOUT THE CURATORSSilvia&nbsp;Beltrametti&nbsp;is&nbsp;a&nbsp;lecturer&nbsp;in&nbsp;the&nbsp;Department&nbsp;of&nbsp;Art&nbsp;History,&nbsp;Theory&nbsp;and&nbsp;Criticism&nbsp;at&nbsp;the&nbsp;School&nbsp;of&nbsp;the&nbsp;Art&nbsp;Institute&nbsp;of&nbsp;Chicago. Beltrametti is an expert on art law and her research focuses on the international trade of art as well as intellectual property, specifically on how copyright shapes artistic production. She has published in the&nbsp;Columbia&nbsp;Journal&nbsp;of&nbsp;Law&nbsp;and&nbsp;the&nbsp;Arts&nbsp;andNorthwestern&nbsp;Journal&nbsp;of&nbsp;Technology&nbsp;&amp;&nbsp;Intellectual Property.&nbsp;In&nbsp;2025&nbsp;she&nbsp;contributed&nbsp;to&nbsp;Myth&nbsp;and&nbsp;Marble,&nbsp;Ancient&nbsp;Roman Sculpture from the Torlonia Collection&nbsp;(ed. Lisa Ayla Çakmak and Katharine&nbsp;A.&nbsp;Ruff,&nbsp;Yale&nbsp;University&nbsp;Press).&nbsp;With&nbsp;William&nbsp;Laffan,&nbsp;she has published two substantial articles on Dublin caricatures in&nbsp;Irish Architectural and Decorative Studies.William Laffan&nbsp;is a cultural historian and the author of numerous books on Irish art and architecture. He served as editor of&nbsp;Irish Architectural and Decorative Studies&nbsp;and has published extensively across a wide variety of cultural topics.&nbsp;In 2014 he co-authored&nbsp;Russborough:&nbsp;A&nbsp;Great&nbsp;Irish&nbsp;House,&nbsp;Its&nbsp;Families&nbsp;and&nbsp;Collections&nbsp;and&nbsp;the following year was historical adviser to the landmark exhibition at the Art&nbsp;Institute&nbsp;of&nbsp;Chicago,&nbsp;Ireland, Crossroads of Art and Design, 1690- 1840&nbsp;and edited the show’s catalogue.&nbsp;In 2024 he curated&nbsp;Thomas Frye, An Irish Artist in London&nbsp;at&nbsp;Dublin&nbsp;Castle.&nbsp;With&nbsp;Silvia&nbsp;Beltrametti, he has published two substantial articles on Dublin caricatures in&nbsp;Irish Architectural and Decorative Studies.&nbsp;Image: After James Gilray,&nbsp;Oh! that this too too solid flesh would melt, Published by William McCleary, Dublin.

Ink & Outrage: 18th Century Satirical Prints in London & Dublin

Letica Pardo: Carcasa (109 E. Ontario St.)Through a material reconfiguration of the Mies van der Rohe stair and walls from The Arts Club building, the installation foregrounds aspects of architectural production often minimized or rendered invisible within dominant historical narratives. Originally produced for The Arts Club’s former location, the stair was salvaged from demolition and reinstalled in the institution’s current building, becoming an object in the collection.Translating the stair into exposed rebar—a material typically embedded within built infrastructure and intentionally concealed—brings construction to the surface. The seemingly unfinished structure draws attention to manual labor carried out by immigrant workers who have sustained the U.S. building industry. Silicone casts taken from travertine slabs surrounding the staircase function as reversed impressions of the stone, revealing internal veining and voids as surface textures. Together, the rebar structure and silicone casts establish a dialogue between structure and body, visibility and concealment, and value and labor.Reducing architecture to bone and skin, Carcasa (109 E. Ontario St.) approaches modernism as a system whose authority and visibility were produced through selective recognition. In doing so, it positions architecture as a cultural record of collective making shaped by social relations.This project was curated by Executive Director and Chief Curator Janine Mileaf.This site-specific installation involved production assistance by Dishan Rahman, and metal fabrication by Alejandro Castellanos, Ernesto Garcia, Jair Martínez, José Martinez, Ricardo Martínez, Danilo Medina, Ernesto Medina, Gonzalo Medina, Nelson Ramírez, Francisco Rivadeneyra, Heriberto Valdez, Daniel Valencia, Randi Vigueras, D5 Design and Metal Fabrication.Special thanks goes to Gallery Manager Colby Starck and preparators Reggie Williamson, Xavier Hughes, and Adele Henning. Carcasa (109 E. Ontario St.) (detail), Leticia Pardo. Photo by Fran Peñaflor.

Letica Pardo: Carcasa

In 1776, the Declaration of Independence defined “unalienable rights” as “Life, Liberty and the pursuit of Happiness.” And five years after the end of the Revolutionary War, the founding generation ratified a new Constitution to, among other things, “secure the Blessings of Liberty to ourselves and our Posterity.” What it meant to dedicate a country to liberty was immediately contested and continues to be contested to this day. For whom were these “Blessings of Liberty” to be secured? Under what circumstances could individuals expect the inalienable right of liberty to be recognized? What justifies limitations on liberty, and what does a dedication to liberty demand of us?Though Americans grappled with these issues in all times and places, nothing crystallized the tensions around liberty quite like war. President Abraham Lincoln, in his address at the newly dedicated Gettysburg National Cemetery in the midst of the Civil War, centered his reflection on this very question: “Four score and seven years ago our fathers brought forth on this continent, a new nation, conceived in Liberty, and dedicated to the proposition that all men are created equal.” At the site of so much death and destruction, he wondered whether a nation, “so conceived and so dedicated can long endure.”Conceived in Liberty: Cartoons, Caricatures, and Illustrations in the Wartime US, 1812-1918&nbsp;will draw on the Newberry’s collection to show how artists living through wartime “conceived” cartoons, caricatures, and illustrations that grappled with questions about liberty. These images appeared throughout broader print culture (newspapers, magazines, sheet music, broadsides, posters) as well as in more private contexts, such as diaries, letters, or sketchbooks. Whether patriotic or dissenting, available to the masses or only to a few, wartime imagery reveals in dramatic, visually compelling ways how the people of the US have used the occasion of war to question, revise, challenge, and champion this core value of the country since its founding 250 years ago.<a href="https://www.newberry.org/calendar/conceived-in-liberty" rel="noopener noreferrer" target="_blank">DETAILS</a>

Conceived in Liberty: Cartoons, Caricatures, and Illustrations in the Wartime US, 1812-1918

Willem de Kooning Drawing&nbsp;is the first exhibition to explore the full scope of Willem de Kooning’s drawing practice and how it was foundational to his boundary-breaking artistic career. Featuring more than 200 artworks including rarely-seen drawings—alongside paintings, sculptures, and prints—this exhibition offers an unprecedented opportunity to experience the totality of his graphic production over seven decades and sheds light on his experimentation with materials, tools, and techniques.

Willem de Kooning Drawing

The Museum of Contemporary Art Chicago is thrilled to announce&nbsp;Dancing the Revolution. This exhibition is the first of its kind to explore and expand the visual, political and spiritual histories of dancehall and reggaetón through contemporary art—two dynamic genres that have transcended their grassroots origins to shape global culture. From Kingston to San Juan through London, Toronto, New York City and Panama,&nbsp;Dancing the Revolutionpositions music and dance as a revolutionary practice for collective liberation rooted in the struggle against colonial oppression. Dancehall and reggaetón are not only musical genres but cultural practices and powerful expressions of resistance and joy—reminders of the Caribbean's centuries-old traditions of dance and music as means of liberation and protest rooted in Black Atlantic history and culture.&nbsp;Dancing the Revolution&nbsp;showcases pivotal moments and themes from these histories, starting with the sound system—a mobile disco that embodies both a community experience and a vital civic institution.&nbsp; Presenting work across varied mediums,&nbsp;Dancing the Revolution&nbsp;includes painting, sound sculptures, installations, photographs, and video, showcasing how artists have been and continue to be inspired by these histories and the visual forms that emerge from them. The exhibition features more than 35 artists, including Isaac Julien, Jean Michel Basquiat, Edra Soto, Alberta Whittle, Carolina Caycedo, supakid and Lee "Scratch" Perry. A special commissioned mixtape project invites visitors to learn about the evolution of these popular genres in Panama and hear iconic songs that have paved the way for the global phenomenon of reggaetón. Audiences also will be able to purchase the exhibition’s bilingual catalogue (Spanish/English), which features scholarship on topics such as sound system and sonic aesthetics in painting, dancing and protest during Puerto Rico's&nbsp;Verano del 19, or Summer of 2019, and Panama’s reggae en español, as well as extensive illustrations reproducing exhibition artworks. Dancing the Revolution&nbsp;considers music and dance as powerful tools for sexual and political liberation. The exhibition’s title is inspired by the shifting RPMs (revolutions per minute) that mark the tempo and history of Caribbean popular music, including historic events like Verano del 19 (which famously included protests attended by singers iLe, Residente, Ricky Martin, and Bad Bunny). At this critical moment of collective action, LGBTQ+ and feminist activists led&nbsp;perreo combativo, or “combative twerking,” on the steps of San Juan Cathedral prior to Governor Ricardo Roselló’s resignation, transforming reggaetón’s characteristic dance into a form of political protest. This reclamation of public space through dance—an act deeply rooted in dancehall history and culture—demonstrates how music and dance can serve as bold acts of collective resistance and emancipation. Dancing the Revolution&nbsp;is curated by Carla Acevedo-Yates, former Marilyn and Larry Fields Curator and Director of Curatorial Initiatives, with Iris Colburn, Curatorial Associate, Nolan Jimbo, Assistant Curator, Cecilia González Godino, former Marjorie Susman Curatorial Fellow, and nibia pastrana santiago, Curatorial Consultant.

Dancing the Revolution

Michigan Avenue Galleries, Chicago Cultural&nbsp;Center&nbsp;Photographer Lauren Deutsch and filmmaker Jonathan Woods present an immersive exhibition translating the energy of Chicago’s improvised music scene into color,&nbsp;movement&nbsp;and visual form. Developed&nbsp;by the Tangible Sound Collaborative, the project celebrates the city’s legendary experimental music community and honors the influence of the Association for the Advancement of Creative Musicians (AACM).&nbsp;Through photography, film and installation, the exhibition explores how music can inspire visual expression while celebrating the artists and ancestors whose creativity continues to shape Chicago’s cultural identity.&nbsp;

Tangible Sound: Arrival to a Higher Ground 

Renaissance Court Gallery, Chicago Cultural Center, Chicago, IllinoisReception: September 24, 3 - 5pm The Big Picture: Midwest Large Format Asylum: Large Format Photography, opening this August at the Renaissance Court Gallery in the Chicago Cultural Center.This exhibition brings together more than 70 works by photographers from the greater Midwest and beyond, celebrating the enduring vitality of large format photography — from historic view camera traditions to contemporary artistic practice.&nbsp;The show is organized by the Midwest Large Format Asylum, an association of large-format photographers, dedicated to continuing the traditional practices of large format photography and expanding them.At a time when digital photography and AI increasingly shape how images are made, The Big Picture invites us to slow down and consider the continued power of craft, attention, material process, and the hand-made image.The exhibition will also include artist talks, demonstrations, hands-on workshops, a cyanotype workshop, a large format self-portrait experience, and the Chicago premiere of George Tice: Seeing Beyond the Moment.Curated by Hillary Irene Johnson, MFAOrganized by the Midwest Large Format Asylum Alongside The Big Picture, we’re offering a full series of public programs exploring large format photography — from historic processes to hands-on experiences. Visitors can attend talks and demonstrations on wet-plate collodion, long-term documentary work, historic and contemporary cameras, cyanotype, photographic motion, and more. There will also be chances to make your own cyanotype and even create a large format self-portrait using a 4 × 5 view camera.Some workshops require advance registration. All events are free and open to the public at the Renaissance Court Gallery at the Chicago Cultural Center Workshops and Presentations 1. History of Large Format Photography and the Collodion ProcessThursday, August 13, 12:30–2:30 pmWet-plate collodion is one of the most important early photographic processes in the history of large format photography.Join Eric Nelson and D Anson Brody for a lecture and demonstration exploring the history, material beauty, and technical demands of this process, which requires each glass or metal plate to be prepared, exposed, and processed while still wet. 2. Creating a Long-Term Photo DocumentaryMonday, August 17, 12:30–2:30 pmWhat does it mean to build a photographic project over decades?Chris Walker has spent more than 30 years photographing youth culture through rural county fairs. In this program, he will discuss the technical, aesthetic, and conceptual choices that shaped the work, including his move from 35mm film to an 8 × 10 inch view camera. 3. Introduction to Large Format Photography: What’s the Big Deal?Thursday, August 20, 10:30 am–12:30 pmWhy do artists still choose large format photography in a digital age?This introductory program brings together historic and contemporary cameras, including Deardorff, Crown Graphic, Cirkut, stereo, and ultra-large format cameras. Photographers will share their cameras, examples of their work, and what continues to draw them to this slow and powerful format. 4. Taking Your Own Large Format Self-PortraitFriday, August 21, 10:30 am–1:30 pmExperience large format photography firsthand.In this hands-on program, Francis Fullam will guide participants in making their own self-portrait with a 4 × 5 inch view camera and direct positive paper. Photographs will be developed on site at the Renaissance Court Gallery.Space is limited to 20 participants, and advance registration is required.&nbsp;Register by calling the Renaissance Court Gallery (312) 744-4550. 5. Making Your Own CyanotypeThursday, September 10, 10:15 am–12:30 pmMake your own cyanotype.Cyanotype is one of the earliest photographic processes, known for its distinctive deep blue color. In this hands-on workshop, Ryan Zoghlin will introduce the process and provide materials for participants to assemble and expose their own images using sunlight.Participants will take home their finished cyanotype prints.Space is limited to 24 participants, and advance registration is required.&nbsp;Register by calling the Renaissance Court Gallery (312) 744-4550. 6. Screening of George Tice: Seeing Beyond the MomentMonday, September 21, 12:30–2:00 pmJoin us for the Chicago premiere of George Tice: Seeing Beyond the Moment.This 72-minute documentary offers an intimate look at the life, process, and artistic development of George Tice, an influential postwar photographer known for his work with the 8 × 10 inch view camera. 7. Reception: Come Meet The Big Picture PhotographersThursday, September 24, 3:00–5:00 pmJoin us for the public reception for The Big Picture.Meet participating photographers, view the exhibition, and learn more about the cameras, processes, and ideas behind the works on display. The exhibition includes large format photographs spanning abstraction, landscape, portraiture, still life, documentary photography, and more.Light refreshments will be served. 8. Expanding Photographic PossibilitiesMonday, September 28, 12:30–2:00 pmHow can still photography reveal motion?Seder Burns will discuss the history of photographic motion studies, from Eadweard Muybridge to contemporary experiments, and introduce his current work with a large format digital scanning camera he developed.This program explores new ways of seeing movement, time, and photographic possibility.

The Big Picture: Midwest Large Format Asylum: Large Format Photography

Special Note: This exhibition takes place at Glass Curtain Gallery – 1104 S Wabash Ave, Chicago, ILThe Museum of Contemporary Photography and School of Visual Arts at Columbia College Chicago proudly present the Diane Dammeyer Fellowship in Photographic Arts &amp; Social Issues exhibition featuring 2025-2026 fellow Lali Khalid.Khalid’s exhibition will be on view&nbsp;June 25-October 3, 2026&nbsp;at Columbia College Chicago’s&nbsp;Glass Curtain Gallery&nbsp;with exclusive programming during Filter Photo Festival.In partnership with CAIR Chicago, Khalid’s multimedia project of video, audio, and photography represents personal narratives within Muslim culture and the everyday by providing a broader perspective beyond stereotypes and inviting conversation on belonging, resilience, and the importance of representation.Click the embedded links to learn more about&nbsp;<a href="https://www.lalikhalid.com/" rel="noopener noreferrer" target="_blank">Lali Khalid</a>,&nbsp;<a href="http://google.com/search?q=CAIR+Chicago&amp;rlz=1C1GCEU_enUS1078US1079&amp;oq=CAIR+Chicago&amp;gs_lcrp=EgZjaHJvbWUyBggAEEUYOdIBCDEzODlqMGo0qAIAsAIA&amp;sourceid=chrome&amp;ie=UTF-8" rel="noopener noreferrer" target="_blank">CAIR Chicago</a>, the&nbsp;<a href="https://www.colum.edu/academics/initiatives/diane-dammeyer-fellowship" rel="noopener noreferrer" target="_blank">Diane Dammeyer Fellowship for Photographic Arts &amp; Social Issues</a>, the&nbsp;<a href="https://www.colum.edu/academics/visual-arts/" rel="noopener noreferrer" target="_blank">School of Visual Arts</a>, and&nbsp;<a href="https://www.filterphoto.org/" rel="noopener noreferrer" target="_blank">Filter Photo</a>.

Diane Dammeyer Fellowship Exhibition: Lali Khalid

<h3>Visionary: Celebrating Leadership in the Arts</h3><h3>October 05, 202611:00 am - 1:30 pm</h3> <a href="https://experience.mcachicago.org/7707" rel="noopener noreferrer" style="background-color: rgb(0, 0, 0); color: rgb(255, 255, 0);" target="_blank">Tickets and Sponsorship Opportunities</a> OFF-SITE Please note that this event is held at The Four Seasons Hotel Chicago, 120 East Delaware Place. The Visionary luncheon celebrates arts philanthropy in Chicago and extraordinary women artists.&nbsp;The 2026 event features a program with multidisciplinary artist and MacArthur Fellow Amanda Williams and the presentation of the 2026 Arts Philanthropy Award to Bank of America for its commitment to arts and culture in Chicago. For tickets or more information, please contact&nbsp;<a href="mailto:Visionary@mcachicago.org" rel="noopener noreferrer" style="color: rgb(0, 0, 0);" target="_blank">Visionary@mcachicago.org</a>&nbsp;or&nbsp;<a href="tel:+13123973871" rel="noopener noreferrer" style="color: rgb(0, 0, 0);" target="_blank">312-397-3871</a>. <h3>2026 Visionary Honorees</h3> <h3>Artist Honoree</h3>Amanda Williams <h3>Arts Philanthropy Honoree</h3> Rita Sola Cook and Bank of America Image: Amanda Williams. Photo courtesy of John D. and Catherine T. MacArthur Foundation.

Visionary: Celebrating Leadership in the Arts

Our Free Days Are Taking The Night Shift! From March through November, we’re returning to Free First Tuesdays! On the first Tuesday of every month, enjoy extended hours from 5:00 pm to 8:00 pm - admission is free for all, no residency restrictions.

Our Free Days Are Taking The Night Shift! From March through November, we’re returning to Free First Tuesdays! On the first Tuesday of every month, enjoy extended hours from 5:00 pm to 8:00 pm - admission is free for all, no residency restrictions. Want more chances to visit? Take a look at our full lineup of 2026 Free Days below and mark your calendar! From March through November, we’re returning to Free First Tuesdays! On the first Tuesday of every month, enjoy extended hours from 5:00 pm to 8:00 pm - admission is free for all, no residency restrictions.

Calendar

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