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

Evening Public Program: PoetryReception 6:00 pm | Program 6:30 pm At the beginning of 2026 Mayor Johnson, with DCASE, the Chicago Public Library, and the Poetry Foundation, announced Mayda Alexandra del Valle as Chicago’s Second Poet Laureate. A poet, performer, educator and interdisciplinary artist born and raised on the South Side of Chicago, Del Valle brings a multidisciplinary practice rooted in poetry, performance, music, movement and cultural history. She sits down with&nbsp;Poetry&nbsp;editor-in-chief and fellow author Adrian Matejka to discuss her practice and history and present a reading or two. Sliding Scale Tickets available for on-site attendance from $5 to $20 per person Complimentary remote viewing<a href="https://us.list-manage.com/11H3SUDBwsy?e=e3c33543d7&amp;c2id=862ae2c1bcef2b7ceb1b01f686f9f68e" rel="noopener noreferrer" target="_blank">Register Here</a>

Chicago Poet Laureate Mayda del Valle with Poetry Editor-in-Chief Adrian Matejka

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 Tuesdays

Grey James’ latest works are concerned with his personal experience as a trans man, having experienced significant harassment and defamation. These works have become supercharged with emotion and defiance in response to being targeted by anti-trans individuals. PJOB is an acronym for “Pink Jerkoff Boy,” the title of a painting sold in 2017 that was used by James’ tormentors as evidence of his depravity. James has repurposed this title to reclaim his power.

Grey James: PJOB

Architect / Artist&nbsp;Wallace Bowling&nbsp;assembles numerous&nbsp;constructs&nbsp;in a&nbsp;10’ X 10’ X 10’&nbsp;Boxx&nbsp;at Bert Green Fine Arts, 8 South Michigan Avenue,&nbsp;concurrent with Expo Chicago 2026.&nbsp;The title&nbsp;Ensemble&nbsp;- individual components regarded as single and complete,&nbsp;forming a larger, more complex whole - is ideal.&nbsp;Ensemble opens Saturday, 11 April and runs through Saturday, 13 June.&nbsp;Opening Reception is on Saturday,&nbsp;11 April&nbsp;from 5:00 to 7:00 pm.&nbsp;Artist Talk is on Saturday,&nbsp;9 May&nbsp;from 2:00 to 4:00 pm.Closing Reception is on Saturday,&nbsp;13 June&nbsp;from 2:00 to 4:00 pm.The artist will be present at all events. “An artwork is not complete until it is viewed.”Marcel Duchamp, 1957&nbsp;

Wallace Bowling: Ensemble

John Stezaker, the British artist known for his groundbreaking conceptual collage cycles,&nbsp;debuts a new body of work&nbsp;at GRAY Chicago this spring.Titled&nbsp;Raft, the exhibition features a series of uncanny landscapes that mend together two images from the artist’s archives to create a single composition. Sourced from nineteenth-century British books—ostensibly about world travel, but flaunting the geographic extent of the empire—Raftis a continuation of the radically incisive collage techniques Stezaker has been pursuing for nearly six decades.The exhibition opens at GRAY Chicago on Saturday, March 28 with an artist walkthrough at 2:30 PM and a public reception from 3-5 PM.<a href="https://ennouncement.exhibit-e.com/t/y-l-atiikhl-sykijfhl-t/" rel="noopener noreferrer" target="_blank">Learn More</a>

John Stezaker: Raft

From a 6th-century gilt bronze Buddhist sculpture to white porcelain and contemporary paintings of the late 20th century, the works of art in this exhibition demonstrate the artistic legacy produced on the Korean peninsula over millennia. Among the 140 artworks on view, 22 are officially recognized as National Treasures or Treasures by the Korean government.

Korean National Treasures: 2,000 Years of Art

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

The devastation of the two world wars played a pivotal role in shaping the field of modern plastic surgery. In the early twentieth century, surgeons became artisans—suturing torn flesh like tailors mending fabric, reinforcing facial structures like carpenters restoring damaged frames. These groundbreaking reconstructive techniques laid the foundation for a discipline that would evolve beyond necessity into the realm of aesthetics.Simultaneously, artists—painters, sculptors, and draftsmen documenting the wars—engaged in parallel work. They studied the human form, deconstructing and reimagining faces and bodies through drawings, sculpture, and canvas. Anatomical study, once central to classical realism, became a bridge between art and medicine, guiding surgeons in their quest to restore symmetry, balance, and expression. The artist’s eye informed the surgeon’s hand, just as surgical reconstructions inspired new artistic interpretations of the human body.By the latter half of the twentieth century, plastic surgery had moved beyond reconstruction to self-reinvention. Like artists shaping raw material into beauty, surgeons refined and reshaped faces and bodies to align with personal desires and cultural ideals. The line between restoration and enhancement blurred, and the human body itself became a canvas for transformation.With the dawn of the new millennium came once-unimaginable feats—most notably, full-face transplantation. Surgeons, like sculptors working in living clay, not only rebuilt faces but gave patients entirely new ones. These innovations merged medicine, aesthetics, and identity in unprecedented ways.Today, the relationship between plastic surgery and art continues to evolve. Surgeons and artists share a common pursuit: to shape, refine, and redefine the human form. Whether working with marble or muscle, canvas or cartilage, both seek to capture the essence of beauty, resilience, and identity in constant flux.The International Museum of Surgical Science is proud to present these coinciding exhibitions as&nbsp;"A Year of Plastic Surgery"—a yearlong exploration of this remarkable field. Through monthly programs, we celebrate the masters of both flesh and form, bridging the worlds of surgical innovation and figurative art. Header Image: A soldier of Company K, 110th Regt. Infantry (formerly 3rd and 10th Inf., Pennsylvania National Guard), just wounded, receiving first-aid treatment from a comrade. Varennes-en-Argonne, France, on September 26, 1918. U.S. Army / U.S. National Archives

The Artistry of Plastic Surgery

Third Wednesday: Music in Motion from Ireland to Chicago is inspired by Ink &amp; Outrage: 18th-Century Satirical Prints in London &amp; Dublin. This program features the interplay of the Irish harp and the accordion.<a href="https://driehausmuseum.us3.list-manage.com/track/click?u=32343bbcd4e3063e18cdf64bf&amp;id=9111c600f4&amp;e=d1db3f815c" rel="noopener noreferrer" target="_blank">TICKETS</a>

Third Wednesday: Music in Motion from Ireland to Chicago

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

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

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

Ornament & Information 

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

Lucas Samaras: Sitting, Standing, Walking, Looking

Go behind the scenes of printmaking during this special offsite visit to the <a href="https://driehausmuseum.us3.list-manage.com/track/click?u=32343bbcd4e3063e18cdf64bf&amp;id=b8ba843115&amp;e=d1db3f815c" rel="noopener noreferrer" target="_blank">Chicago Printmakers Collaborative</a>. <a href="https://driehausmuseum.us3.list-manage.com/track/click?u=32343bbcd4e3063e18cdf64bf&amp;id=27beada8e3&amp;e=d1db3f815c" rel="noopener noreferrer" target="_blank">TICKETS</a>

Chicago Printmakers Collaborative Tour

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

Hattie Lee Mendoza, Melissa Melero-Moose, Sean Chandler 

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

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

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.

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