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

3816 W. Armitage Ave., Chicago, IL 60647847-922-5736 PROGRAMMING:&nbsp;<ul><li>ARTIST TALK – Saturday, Nov. 15th, 2025 – 3-5pm</li><li>FIGURE DRAWING – Sunday, Dec. 7th&nbsp;– 3-6pm.&nbsp;&nbsp;Live Model - FEE: $20</li><li>CLOSING: Saturday, Dec. 13 - 5-9pm</li><li>HOLIDAY/GIFT PARTY – Friday, Dec. 19th, 2025 – 5-9pm</li></ul> Gallery Hours:&nbsp;Friday 5–8 PM, Saturday 12–4 PM, or by appointment Timeless Bodies interprets the human form through sculptural realism and abstraction. Throughout history, the human form has been symbolized as a container of life, emotion, and spirit, reflecting both fragility and resilience. How does the body hold and convey our stories, memories, or cultural history? Artists were encouraged to celebrate the interplay of form and storytelling in clay.&nbsp;Juror &amp; Curator:&nbsp;Nancy Pirri is an artist from Chicago, working primarily in ceramics and creating figures of all sizes. Pirri has won awards from the Beverly Arts Center and the Rockford Art Museum, including work published in ‘500 Figures in Clay’ V2. She has exhibited nationally and internationally, including SOFA in Chicago representing women's rights anniversaries, and has acquired collectors from all over the world.&nbsp;She has exhibited with numerous galleries in the Midwest and is currently represented by Oliva Gallery, J. Petter Galleries (MI), Design at 329/Primitive/The Stalls, and Inner Haven Gallery.&nbsp; ARTISTS EXHIBITING:Nikki Renee AndersonMonica BalcLynn BasaAaron BeckerSharon BladholmDebbie BurkLisa FarrisAutumn HorwathLynda Lawson KarrJayne KingDawn LiddicoattLinda MarcusJohannah Tomita MartinAmber MatthewsSuzanne MauroCarole McCurdyBobbi MeierArny NadlerAndryea NatkinAlexis Lee Ortiz-DuarteRoberta Ulrich-de OliveiraSusan VolkChristopher WilliamsRunhui XuThomas Zamiar Image: Arny Nadler (associate professor of Art Sam Fox School of Art and Design at Washington University St Louis Mo )&nbsp;&nbsp;

Timeless Bodies

Timeless Bodies&nbsp;First Annual Midwest Ceramic Exhibition&nbsp;OLIVA GALLERY3816 W. Armitage Ave., Chicago, IL 60647847-922-5736Nov. 7-Dec. 13, 2025 PROGRAMMING:&nbsp;<ul><li>ARTIST TALK – Saturday, Nov. 15th, 2025 – 3-5pm</li><li>FIGURE DRAWING – Sunday, Dec. 7th&nbsp;– 3-6pm.&nbsp;&nbsp;Live Model - FEE: $20</li><li>CLOSING: Saturday, Dec. 13 - 5-9pm</li><li>HOLIDAY/GIFT PARTY – Friday, Dec. 19th, 2025 – 5-9pm</li></ul> Gallery Hours:&nbsp;Friday 5–8 PM, Saturday 12–4 PM, or by appointmentTimeless Bodies&nbsp;interprets the human form through sculptural realism and abstraction. Throughout history, the human form has been symbolized as a container of life, emotion, and spirit, reflecting both fragility and resilience. How does the body hold and convey our stories, memories, or cultural history? Artists were encouraged to celebrate the interplay of form and storytelling in clay.&nbsp;Juror &amp; Curator:&nbsp;Nancy Pirri is an artist from Chicago, working primarily in ceramics and creating figures of all sizes. Pirri has won awards from the Beverly Arts Center and the Rockford Art Museum, including work published in ‘500 Figures in Clay’ V2. She has exhibited nationally and internationally, including SOFA in Chicago representing women's rights anniversaries, and has acquired collectors from all over the world.&nbsp;She has exhibited with numerous galleries in the Midwest and is currently represented by Oliva Gallery, J. Petter Galleries (MI), Design at 329/Primitive/The Stalls, and Inner Haven Gallery.&nbsp; ARTISTS EXHIBITING:Nikki Renee AndersonMonica BalcLynn BasaAaron BeckerSharon BladholmDebbie BurkLisa FarrisAutumn HorwathLynda Lawson KarrJayne KingDawn LiddicoattLinda MarcusJohannah Tomita MartinAmber MatthewsSuzanne MauroCarole McCurdyBobbi MeierArny NadlerAndryea NatkinAlexis Lee Ortiz-DuarteRoberta Ulrich-de OliveiraSusan VolkChristopher WilliamsRunhi XuThomas Zamiar Image: Arny Nadler (associate professor of Art Sam Fox School of Art and Design at Washington University St Louis Mo )&nbsp;&nbsp;

Timeless Bodies, Closing Event

KNOTS, a joint female exhibition by local artist&nbsp;Ann Latinovich&nbsp;and Spanish artist&nbsp;Eli Pla.&nbsp; KNOTS is a portrait of relationship. It is a record of what becomes possible when two people&nbsp;choose to meet through presence, through creation, and through a visual language that arrived&nbsp;before spoken words. The artists connected through a shared creative language over a spoken one as neither really speaks the other's native tongue.&nbsp;The knots in this exhibition represent both entanglement and care. Each artist brought their own&nbsp;knots into the relationship, carried from memory, history, and personal experience.Their dialogue turned into art.&nbsp; Knots is a record of presence, of process, and of the quiet intimacy that becomes possible when we allow ourselves to be fully seen. Opening Reception:&nbsp;Thursday, November 20th from 6:00–9:00 PM.&nbsp; Exhibit&nbsp;will be on view&nbsp;from&nbsp;November 21st through December 14th. Location: T.Mari Gallery,&nbsp;1023 N Western Ave, Chicago, IL 60622

KNOTS: Ann Latinovich and Eli Pla

We are pleased to host Doug Fogelson and Jeffrey Lubow to discuss their collaboration for Fogelson’s&nbsp;Signal/Noise&nbsp;installation, recently on view at old friends.&nbsp;Signal/Noise&nbsp;was originally conceived as a series of color photograms on analog film created between 2023 and 2025. Using gridded materials and brief exposures to color-filtered light, Fogelson works in darkness, combining elements by feel and chance. In collaboration with video editor Matt Volla, the artist then translates the photograms into moving images—crossfading, shifting saturation, cropping, and fragmenting forms.&nbsp;Jeffrey Lubow is an interdisciplinary designer, researcher, and artist concerned with the space between the body and emergent technology. In response to Fogelson’s video piece, Lubow designed software that translates the photograms’ visual edge patterns and color weights into sound, effectively facilitating the imagery to “play itself.”Please join us on Zoom on Saturday, December 14th, 4pm CST for a discussion on collaborative relationships between artists and between technologies. The conversation will be recorded and available on&nbsp;<a rel="noopener noreferrer" href="http://oldfriendsgallery.com/" target="_blank">oldfriendsgallery.com</a>.

Virtual Artist talk: Doug Fogelson in conversation with Jeffrey Lubow

The more abstract is form, the more clear and direct is its appeal.”&nbsp;— Wassily Kandinsky, Concerning the Spiritual in Art, 1912&nbsp; Exhibiting Artists : <a rel="noopener noreferrer" href="https://www.michellebolinger.com/" target="_blank">Michelle Bolinger </a>(b.1981), David Burlick (1882-1967), <a rel="noopener noreferrer" href="https://marisolcervantes.com/home.html" target="_blank">Marisol Cervantes </a>( b.1996), Gerald Coarding (1911-1986), Joseph Friebert (1908 – 2002), <a rel="noopener noreferrer" href="https://www.marygriffin.net/" target="_blank">Mary Griffin</a> (b.1986), John D. Graham (1881/86/88-1961), <a rel="noopener noreferrer" href="https://www.staciemayajohnson.com/" target="_blank">Stacie Maya Johnson</a> (b. 1977), William S. Schwartz (1896-1977), Charles Green Shaw (1892-1974), and<a rel="noopener noreferrer" href="https://www.brucethorn.com/" target="_blank"> Bruce Thorn </a>(b.1952).&nbsp;&nbsp;Madron Gallery presents Conversations in Abstraction, a group exhibition that brings together contemporary and historical artists whose abstract paintings create a visual communication that transcends the barriers of time, geography, and theory. At its core, abstraction invites the viewer to peel back the layers of color, line, shape, and texture, discovering deeper meaning and connection—compositions designed to spark dialogue. The 23 paintings on display serve as markers that span more than a century of artistic creation. Over the past five years, Madron has been collecting artworks produced during the early exploration of abstraction in America. By exhibiting historical and contemporary artworks alongside each other, we not only examine how abstraction has developed over time but also explore how artworks created decades apart remain relevant to one another.&nbsp; Image: Bruce Thorn (b. 1952), Flamingo, 2025, acrylic on linen, 54 x 144 inches.

Conversations in Abstraction

HOLIDAY/GIFT PARTY:&nbsp;Friday, Dec. 19th, 2025 – 5-9pm Timeless Bodies interprets the human form through sculptural realism and abstraction. Throughout history, the human form has been symbolized as a container of life, emotion, and spirit, reflecting both fragility and resilience. How does the body hold and convey our stories, memories, or cultural history? Artists were encouraged to celebrate the interplay of form and storytelling in clay.&nbsp;Juror &amp; Curator:&nbsp;Nancy Pirri is an artist from Chicago, working primarily in ceramics and creating figures of all sizes. Pirri has won awards from the Beverly Arts Center and the Rockford Art Museum, including work published in ‘500 Figures in Clay’ V2. She has exhibited nationally and internationally, including SOFA in Chicago representing women's rights anniversaries, and has acquired collectors from all over the world.&nbsp;She has exhibited with numerous galleries in the Midwest and is currently represented by Oliva Gallery, J. Petter Galleries (MI), Design at 329/Primitive/The Stalls, and Inner Haven Gallery.&nbsp; Photo credit: Suzanne Mauro

Timeless Bodies Holiday Gift Party

Scott Burton: Shape Shift, a&nbsp;critically acclaimed exhibition surveying the seminal—and subversive—art of Scott Burton (1939-1989), opens on Friday,&nbsp;October 3, 2025, at&nbsp;Wrightwood 659 in Chicago.&nbsp;&nbsp;Burton,&nbsp;who once&nbsp;described his work as “sculpture in love with furniture,”&nbsp;was a true American original. By the time of his death at the age of 50 from an AIDs-related illness, he had succeeded as sculptor, public artist, performance artist, social choreographer, art critic, and exhibition curator.&nbsp;This landmark exhibition&nbsp;spans that career,&nbsp;bringing together&nbsp;works from the 1960s to the ‘80s, including some 30 sculptures and more than 40 photographs, drawings, and ephemera.&nbsp;The exhibition is installed on Wrightwood 659’s third and fourth floors.As the most comprehensive survey of the late artist’s work ever mounted in the United States,&nbsp;Scott Burton: Shape Shift&nbsp;is curated by Jess Wilcox, independent curator, and Heather A. Smith, Assistant Curator, Pulitzer Arts Foundation. It premiered last fall at the Pulitzer Arts Foundation, St. Louis,&nbsp;and is presented at Wrightwood 659 by&nbsp;Alphawood Exhibitions.The ExhibitionRather than progressing chronologically, the installation of&nbsp;Shape Shift&nbsp;responds to the architecture of Tadao Ando, as did the Pulitzer Arts Foundation’s presentation in 2024. The Pulitzer Prize winning architect designed both art spaces, the Pulitzer in 2001, and Wrightwood in 2018.Among the highlights of the fourth floor are two groupings of chairs that illustrate Burton’s ideas about community. Placed in front of a curtain glass wall looking out to the street is a tableau of steel chairs—among them two curved chairs installed face-to-face and a solo minimalist take on the wire bistro chair. In another grouping, Wrightwood brings together a variety of Burton’s chairs for visitors to sit on.On the third floor, the visitor encounters&nbsp;Two-Part Chair&nbsp;(1986/2002), a pair of granite polygon slabs balancing one atop the other for mutual support. Although highly abstract, when viewed in profile the sculpture loosely resembles two bodies in a sexual embrace.&nbsp;On the same floor, the sculpture and performance element&nbsp;Bronze Chair&nbsp;(1972/75) is displayed next to a photograph showing it on a cobbled-stone street in New York City’s Soho neighborhood in the early ‘70s. Burton had found the Queen Anne-style armchair abandoned in an apartment, cast it in bronze, and put it outside on the street, where it sat enigmatically against a brick wall. At Wrightwood, this installation is echoed&nbsp;by the brick wall of Tadao Ando’s gallery.Burton’s anthropomorphizing of furniture was linked to his study of proxemics, the inquiry into the relational systems and nonverbal cues inherent in social spaces. As he once said, “You could say that people are like furniture. They take different poses and suggest different genders.” In&nbsp;Shape Shift, this dictum is illuminated in an array of furniture forms, each conveying a distinct character and connotation through form, material, surface finish, scale, and stylistic lineage.Demonstrating Burton’s radical, but elegant, formal inventions is&nbsp;Two-Part Chaise Lounge&nbsp;(1986-87),&nbsp;where&nbsp;a pair of V-shaped pieces of&nbsp;pink Rosa Baveno granite, setflush with each other, transform into&nbsp;stable seating. In an example of the expressiveness of finish, the visitor will find&nbsp;Spattered Table&nbsp;(1974-1977), a simple wooden table that Burton found, splattered with primary colors, and exhibited atop a large horizontal pedestal, transforming it into minimalist sculpture. As Burton intended, Wrightwood 659 will display the work so that visitors will be able to glimpse its white underbelly, which playfully contrasts with its Abstract Expressionist-inspired outer surfaces.&nbsp;Installed nearby is&nbsp;the diminutive&nbsp;Child’s Table and Chair(1978), which could be an example of a Bauhaus playroom set, were it not for its scale and red, blue, and yellow stretchers and splats.Still another play on the formal possibilities of a vernacular form is seen in&nbsp;Onyx Table&nbsp;(1978-1981), a Parsons-style table so massive and heavy that it morphs from a piece of furniture into a work of art. At once opulent in its fine surface and luminosity and humorous in its mixed functionality, it anticipates the materiality and approach of Burton’s later public works.A star of&nbsp;Shape Shift,&nbsp;the spectacularly extroverted&nbsp;Five-Part Storage Cubes&nbsp;(1982), dominates a landing leading from the third to fourth floor. The&nbsp;stack of large yellow, red, orange, blue, and green cubes will be displayed with one of its doors open.The artist continually riffed off the American vernacular, seen here in homages to the Adirondack chair, including one&nbsp;fabricated in yellow Formica and&nbsp;others conceived as abstract experiments—like&nbsp;Aluminum Chair&nbsp;(1980-1981), where the shape echoes the Adirondack sloping form, but the chair is constructed from&nbsp;triangular aluminum plates punctured by large circular apertures.Scott Burton: Shape Shift&nbsp;features an array of little- or never-before-seen video, photographs, Polaroids, a poster, notes, and sketches related to Burton’s proscenium performances. These include an oak table found and altered by Burton and repurposed as a performance prop; sketches that diagram movement and directions for performances; and&nbsp;Individual Behavior Tableaux&nbsp;(1980), the only known video of Burton’s performance oeuvre, which documents the artist’s last performance before he turned to furniture/object making full-time. Shot at the Berkeley Art Museum, the video captures the glacially slow enactment of a variety of gestures, poses, and behaviors. The poses stem not only from Burton’s study of nonverbal communication but also allude to the bodily cues that signal sexual availability within gay cruising culture.Wall and case displays document Burton’s writings for&nbsp;Art in America&nbsp;magazine and other publications; seminal performances, including his early, site-specific installationFurniture Landscape&nbsp;(1970) at the University of Iowa where he brought pieces of furniture outdoors; the exhibition he organized of works by Brancusi at the Museum of Modern Art (MoMA) (1989); and his own sculpture, installed in MoMA’s sculpture garden (1989).&nbsp;The MoMA garden installation featured his Parallelogram chairs, two of which have been added to the Wrightwood showing.&nbsp;Finally, a slideshow presents views of Burton’s many public art installations, including major works on the grounds of the Des Moines Art Center, Princeton University, the University of Houston, and the Waterfront Plaza at Battery Park City, in New York.&nbsp;The ArtistRemembered as an artist, critic, and curator, Scott Burton was born in 1939 in Greensboro, Alabama, spent his formative years in Washington, DC, and received a BA degree from Columbia University (1962) and MFA from New York University (1963).His critical writing appeared regularly in&nbsp;ARTnews&nbsp;and&nbsp;Art in America&nbsp;and in exhibition catalogues, including that for Harald Szeemann’s landmark post-minimalist exhibition,&nbsp;Live in Your Head: When Attitudes Become Form&nbsp;(1969 Kunsthalle Bern, Switzerland).By the early 1970s, Burton was exhibiting in New York City, first with like-minded artists on the street, then in galleries and museums including the Whitney Museum of American Art, the Solomon R. Guggenheim Museum, P.S. 1, and, in a solo exhibition, Artists Space. Throughout the 1970s and 1980s, Burton created an array of performances, furniture as sculpture, and public art environments inspired by his studies of body language, art history, and design. He also curated the inaugural exhibition in the Museum of Modern Art’s now-lauded Artist’s Choice series. Burton died of an AIDS-related illness in 1989.His work is in dozens of collections, including the Art Institute of Chicago, Los Angeles County Museum of Art, Museum of Modern Art, National Gallery of Art, Philadelphia Museum of Art, Princeton University Art Museum, Solomon R. Guggenheim Museum, Tate, and the Walker Art Center. Almost all of the archival photographs, diagrams, drawings, and ephemera in the exhibition are on loan from the Museum of Modern Art (MoMA) Archives, which maintains the Scott Burton Papers, its largest single-artist holding.Performances and Special EventsOn October 24 and 25 at Wrightwood 659, the New York-based founder of the Center for Experimental Lectures, Gordon Hall, will present a performance meditating on the condition of waiting and Burton’s legacy.&nbsp;Public programs will also include a talk by art historian David J. Getsy, author of&nbsp;Queer Behavior: Scott Burton and Performance Art&nbsp;(University of Chicago Press, 2022). Getsy’s lecture will take place at the Art Institute of Chicago at 6pm on October 9. Getsy will co-lead a tour ofScott Burton: Shape Shift&nbsp;the following day with the exhibition’s curator Jess Wilcox. (Registration to come.)PublicationScott Burton: Shape Shift, the accompanying publication, is expected to serve as an essential source for scholars, artists, and others interested in the intentions and legacy of Scott Burton. The volume features essays by David J. Getsy and Jess Wilcox; writings by the artists Brendan Fernandes and Gordon Hall; contributions by Jeremy Johnston and Heather Alexis Smith; and a never-before-published excerpt from the transcript of a 1988 lecture by Burton.&nbsp;The volume is co-published by the Pulitzer Arts Foundation and Alphawood Exhibitions and distributed by Yale University Press. Price $50.Also on View at Wrightwood 659The Joffrey + Ballet in the U.S.&nbsp;is a large-scale exhibition celebrating the rich history of The Joffrey Ballet and the life of Robert Joffrey. The exhibition premiered at The New York Public Library for the Performing Arts at Lincoln Center in 2024, marking the first major retrospective of the company. Drawing from the Joffrey archive, acquired&nbsp;by the Jerome Robbins Dance Division in 2017 as the Library’s largest acquisition in a decade, the exhibition offers an in-depth look at the Joffrey’s contributions to ballet in the U.S. Highlights include rare film from the original performance of the groundbreaking ballet&nbsp;Astarte&nbsp;and Anna Sokolow’s&nbsp;Opus 65,&nbsp;as well as costumes, props, pointe shoes, posters, correspondence, and other ephemera from the company and Robert Joffrey’s life.&nbsp;The Joffrey + Ballet in the U.S.&nbsp;is organized by The New York Public Library for the Performing Arts and curated by Dr. Julia Foulkes with assistance from Nicole Duffy. It is presented at Wrightwood 659 by Alphawood&nbsp;Exhibitions.Ellen Altfest: Forever&nbsp;is a selection of 15 oil paintings by the American representational painter Ellen Altfest, known for her painstakingly labor-intensive canvases and her observation of things in the world often overlooked in art. From roughly tactile rocks, tangled branches, and tree bark, to the smoothness of houseplants, fabric, and men’s skin—she condenses everyday essences into expressions of absolute clarity and intensity. Her paintings are characterized by surprising pairings of subjects, unorthodox cropping, and, perhaps most notably, scrupulously rendered naturally occurring textures and intricate surface features. Working directly from observation without photographic sources or references, she often spends months—and sometimes more than a year—on a single painting.&nbsp;Ellen Altfest: Forever&nbsp;is organized by the Frist Art Museum, Nashville, Tennessee, where it premiered earlier this year, and is curated by Mark Scala, Chief Curator, Frist Art Museum.&nbsp;Ellen Altfest: Forever&nbsp;is presented at Wrightwood 659 by Halsted A&amp;A Foundation.About Wrightwood 659Wrightwood 659 hosts exhibitions on socially engaged art and architecture, on issues facing LGBTQ+ communities, and on Asian art and architecture. Located in Chicago’s Lincoln Park neighborhood in a building transformed by Pritzker Prize winner Tadao Ando, Wrightwood 659 encourages visitors to engage with pressing issues of our time in an intimate and beautiful space.&nbsp;For additional information, please visit<a style="color: blue;" rel="noopener noreferrer" href="https://protect.checkpoint.com/v2/___https:/wrightwood659.org___.YzJ1Om5ld3N3ZWJsbGM6YzpvOjkxNmUxZTI1MGM2ZWQyZjc3MDI3ZjM5MDk0MDAxNzBjOjY6MjcwMjo2MjhjZDA1ZDgwMzI1MTE5ZDdkNThkYmQ3N2YzYzg1NDQyOTgwMmQyMDlkOTA1ZWM3ZDg4OTYwYmMzZGNlYTFhOnA6VDpG" target="_blank">wrightwood659.org</a>. Hours of Operation and TicketsWrightwood 659 is open Thursdays 12 noon-7 pm; Fridays 12 noon-7 pm;&nbsp;Saturdays 10 am-5 pm.&nbsp;Tickets for the trio of exhibitions opening October 3 go on sale Thursday, September 4. Admission is $20 and is available online only at<a style="color: blue;" rel="noopener noreferrer" href="https://protect.checkpoint.com/v2/___https:/tickets.wrightwood659.org/events___.YzJ1Om5ld3N3ZWJsbGM6YzpvOjkxNmUxZTI1MGM2ZWQyZjc3MDI3ZjM5MDk0MDAxNzBjOjY6ZTM3NTo1ODVkZTEzMTZkZTNkMTU1ZTU4MTZhNmM5ZjI5N2I3NTQzODExNGFmNjY5MTllMDUzZWZmNWQwNGU5ZDgwMThkOnA6VDpG" target="_blank">https://tickets.wrightwood659.org/events</a>. Please note, admission is by advance ticket only.&nbsp;Walk-ups are not permitted.

Ellen Altfest: Forever

Scott Burton: Shape Shift, a&nbsp;critically acclaimed exhibition surveying the seminal—and subversive—art of Scott Burton (1939-1989), opens on Friday,&nbsp;October 3, 2025, at&nbsp;Wrightwood 659 in Chicago.&nbsp;&nbsp; Burton,&nbsp;who once&nbsp;described his work as “sculpture in love with furniture,”&nbsp;was a true American original. By the time of his death at the age of 50 from an AIDs-related illness, he had succeeded as sculptor, public artist, performance artist, social choreographer, art critic, and exhibition curator.&nbsp;This landmark exhibition&nbsp;spans that career,&nbsp;bringing together&nbsp;works from the 1960s to the ‘80s, including some 30 sculptures and more than 40 photographs, drawings, and ephemera.&nbsp;The exhibition is installed on Wrightwood 659’s third and fourth floors.As the most comprehensive survey of the late artist’s work ever mounted in the United States,&nbsp;Scott Burton: Shape Shift&nbsp;is curated by Jess Wilcox, independent curator, and Heather A. Smith, Assistant Curator, Pulitzer Arts Foundation. It premiered last fall at the Pulitzer Arts Foundation, St. Louis,&nbsp;and is presented at Wrightwood 659 by&nbsp;Alphawood Exhibitions. The ExhibitionRather than progressing chronologically, the installation of&nbsp;Shape Shift&nbsp;responds to the architecture of Tadao Ando, as did the Pulitzer Arts Foundation’s presentation in 2024. The Pulitzer Prize winning architect designed both art spaces, the Pulitzer in 2001, and Wrightwood in 2018.Among the highlights of the fourth floor are two groupings of chairs that illustrate Burton’s ideas about community. Placed in front of a curtain glass wall looking out to the street is a tableau of steel chairs—among them two curved chairs installed face-to-face and a solo minimalist take on the wire bistro chair. In another grouping, Wrightwood brings together a variety of Burton’s chairs for visitors to sit on. On the third floor, the visitor encounters&nbsp;Two-Part Chair&nbsp;(1986/2002), a pair of granite polygon slabs balancing one atop the other for mutual support. Although highly abstract, when viewed in profile the sculpture loosely resembles two bodies in a sexual embrace.&nbsp;On the same floor, the sculpture and performance element&nbsp;Bronze Chair&nbsp;(1972/75) is displayed next to a photograph showing it on a cobbled-stone street in New York City’s Soho neighborhood in the early ‘70s. Burton had found the Queen Anne-style armchair abandoned in an apartment, cast it in bronze, and put it outside on the street, where it sat enigmatically against a brick wall. At Wrightwood, this installation is echoed&nbsp;by the brick wall of Tadao Ando’s gallery. Burton’s anthropomorphizing of furniture was linked to his study of proxemics, the inquiry into the relational systems and nonverbal cues inherent in social spaces. As he once said, “You could say that people are like furniture. They take different poses and suggest different genders.” In&nbsp;Shape Shift, this dictum is illuminated in an array of furniture forms, each conveying a distinct character and connotation through form, material, surface finish, scale, and stylistic lineage. Demonstrating Burton’s radical, but elegant, formal inventions is&nbsp;Two-Part Chaise Lounge&nbsp;(1986-87),&nbsp;where&nbsp;a pair of V-shaped pieces of&nbsp;pink Rosa Baveno granite, set flush with each other, transform into&nbsp;stable seating. In an example of the expressiveness of finish, the visitor will find&nbsp;Spattered Table&nbsp;(1974-1977), a simple wooden table that Burton found, splattered with primary colors, and exhibited atop a large horizontal pedestal, transforming it into minimalist sculpture. As Burton intended, Wrightwood 659 will display the work so that visitors will be able to glimpse its white underbelly, which playfully contrasts with its Abstract Expressionist-inspired outer surfaces.&nbsp;Installed nearby is&nbsp;the diminutive&nbsp;Child’s Table and Chair(1978), which could be an example of a Bauhaus playroom set, were it not for its scale and red, blue, and yellow stretchers and splats. Still another play on the formal possibilities of a vernacular form is seen in&nbsp;Onyx Table&nbsp;(1978-1981), a Parsons-style table so massive and heavy that it morphs from a piece of furniture into a work of art. At once opulent in its fine surface and luminosity and humorous in its mixed functionality, it anticipates the materiality and approach of Burton’s later public works. A star of&nbsp;Shape Shift,&nbsp;the spectacularly extroverted&nbsp;Five-Part Storage Cubes&nbsp;(1982), dominates a landing leading from the third to fourth floor. The&nbsp;stack of large yellow, red, orange, blue, and green cubes will be displayed with one of its doors open. The artist continually riffed off the American vernacular, seen here in homages to the Adirondack chair, including one&nbsp;fabricated in yellow Formica and&nbsp;others conceived as abstract experiments—like&nbsp;Aluminum Chair&nbsp;(1980-1981), where the shape echoes the Adirondack sloping form, but the chair is constructed from&nbsp;triangular aluminum plates punctured by large circular apertures. Scott Burton: Shape Shift&nbsp;features an array of little- or never-before-seen video, photographs, Polaroids, a poster, notes, and sketches related to Burton’s proscenium performances. These include an oak table found and altered by Burton and repurposed as a performance prop; sketches that diagram movement and directions for performances; and&nbsp;Individual Behavior Tableaux&nbsp;(1980), the only known video of Burton’s performance oeuvre, which documents the artist’s last performance before he turned to furniture/object making full-time. Shot at the Berkeley Art Museum, the video captures the glacially slow enactment of a variety of gestures, poses, and behaviors. The poses stem not only from Burton’s study of nonverbal communication but also allude to the bodily cues that signal sexual availability within gay cruising culture.Wall and case displays document Burton’s writings for&nbsp;Art in America&nbsp;magazine and other publications; seminal performances, including his early, site-specific installationFurniture Landscape&nbsp;(1970) at the University of Iowa where he brought pieces of furniture outdoors; the exhibition he organized of works by Brancusi at the Museum of Modern Art (MoMA) (1989); and his own sculpture, installed in MoMA’s sculpture garden (1989).&nbsp;The MoMA garden installation featured his Parallelogram chairs, two of which have been added to the Wrightwood showing.&nbsp;Finally, a slideshow presents views of Burton’s many public art installations, including major works on the grounds of the Des Moines Art Center, Princeton University, the University of Houston, and the Waterfront Plaza at Battery Park City, in New York.&nbsp; The ArtistRemembered as an artist, critic, and curator, Scott Burton was born in 1939 in Greensboro, Alabama, spent his formative years in Washington, DC, and received a BA degree from Columbia University (1962) and MFA from New York University (1963).His critical writing appeared regularly in&nbsp;ARTnews&nbsp;and&nbsp;Art in America&nbsp;and in exhibition catalogues, including that for Harald Szeemann’s landmark post-minimalist exhibition,&nbsp;Live in Your Head: When Attitudes Become Form&nbsp;(1969 Kunsthalle Bern, Switzerland).By the early 1970s, Burton was exhibiting in New York City, first with like-minded artists on the street, then in galleries and museums including the Whitney Museum of American Art, the Solomon R. Guggenheim Museum, P.S. 1, and, in a solo exhibition, Artists Space. Throughout the 1970s and 1980s, Burton created an array of performances, furniture as sculpture, and public art environments inspired by his studies of body language, art history, and design. He also curated the inaugural exhibition in the Museum of Modern Art’s now-lauded Artist’s Choice series. Burton died of an AIDS-related illness in 1989. His work is in dozens of collections, including the Art Institute of Chicago, Los Angeles County Museum of Art, Museum of Modern Art, National Gallery of Art, Philadelphia Museum of Art, Princeton University Art Museum, Solomon R. Guggenheim Museum, Tate, and the Walker Art Center. Almost all of the archival photographs, diagrams, drawings, and ephemera in the exhibition are on loan from the Museum of Modern Art (MoMA) Archives, which maintains the Scott Burton Papers, its largest single-artist holding. Performances and Special EventsOn October 24 and 25 at Wrightwood 659, the New York-based founder of the Center for Experimental Lectures, Gordon Hall, will present a performance meditating on the condition of waiting and Burton’s legacy.&nbsp;Public programs will also include a talk by art historian David J. Getsy, author of&nbsp;Queer Behavior: Scott Burton and Performance Art&nbsp;(University of Chicago Press, 2022). Getsy’s lecture will take place at the Art Institute of Chicago at 6pm on October 9. Getsy will co-lead a tour ofScott Burton: Shape Shift&nbsp;the following day with the exhibition’s curator Jess Wilcox. (Registration to come.) PublicationScott Burton: Shape Shift, the accompanying publication, is expected to serve as an essential source for scholars, artists, and others interested in the intentions and legacy of Scott Burton. The volume features essays by David J. Getsy and Jess Wilcox; writings by the artists Brendan Fernandes and Gordon Hall; contributions by Jeremy Johnston and Heather Alexis Smith; and a never-before-published excerpt from the transcript of a 1988 lecture by Burton.&nbsp; The volume is co-published by the Pulitzer Arts Foundation and Alphawood Exhibitions and distributed by Yale University Press. Price $50. Also on View at Wrightwood 659 The Joffrey + Ballet in the U.S.&nbsp;is a large-scale exhibition celebrating the rich history of The Joffrey Ballet and the life of Robert Joffrey. The exhibition premiered at The New York Public Library for the Performing Arts at Lincoln Center in 2024, marking the first major retrospective of the company. Drawing from the Joffrey archive, acquired&nbsp;by the Jerome Robbins Dance Division in 2017 as the Library’s largest acquisition in a decade, the exhibition offers an in-depth look at the Joffrey’s contributions to ballet in the U.S. Highlights include rare film from the original performance of the groundbreaking ballet&nbsp;Astarte&nbsp;and Anna Sokolow’s&nbsp;Opus 65,&nbsp;as well as costumes, props, pointe shoes, posters, correspondence, and other ephemera from the company and Robert Joffrey’s life.&nbsp;The Joffrey + Ballet in the U.S.&nbsp;is organized by The New York Public Library for the Performing Arts and curated by Dr. Julia Foulkes with assistance from Nicole Duffy. It is presented at Wrightwood 659 by Alphawood&nbsp;Exhibitions. Ellen Altfest: Forever&nbsp;is a selection of 15 oil paintings by the American representational painter Ellen Altfest, known for her painstakingly labor-intensive canvases and her observation of things in the world often overlooked in art. From roughly tactile rocks, tangled branches, and tree bark, to the smoothness of houseplants, fabric, and men’s skin—she condenses everyday essences into expressions of absolute clarity and intensity. Her paintings are characterized by surprising pairings of subjects, unorthodox cropping, and, perhaps most notably, scrupulously rendered naturally occurring textures and intricate surface features. Working directly from observation without photographic sources or references, she often spends months—and sometimes more than a year—on a single painting.&nbsp;Ellen Altfest: Forever&nbsp;is organized by the Frist Art Museum, Nashville, Tennessee, where it premiered earlier this year, and is curated by Mark Scala, Chief Curator, Frist Art Museum.&nbsp;Ellen Altfest: Forever&nbsp;is presented at Wrightwood 659 by Halsted A&amp;A Foundation. About Wrightwood 659Wrightwood 659 hosts exhibitions on socially engaged art and architecture, on issues facing LGBTQ+ communities, and on Asian art and architecture. Located in Chicago’s Lincoln Park neighborhood in a building transformed by Pritzker Prize winner Tadao Ando, Wrightwood 659 encourages visitors to engage with pressing issues of our time in an intimate and beautiful space.&nbsp;For additional information, please visit<a style="color: blue;" rel="noopener noreferrer" href="https://protect.checkpoint.com/v2/___https:/wrightwood659.org___.YzJ1Om5ld3N3ZWJsbGM6YzpvOjkxNmUxZTI1MGM2ZWQyZjc3MDI3ZjM5MDk0MDAxNzBjOjY6MjcwMjo2MjhjZDA1ZDgwMzI1MTE5ZDdkNThkYmQ3N2YzYzg1NDQyOTgwMmQyMDlkOTA1ZWM3ZDg4OTYwYmMzZGNlYTFhOnA6VDpG" target="_blank">wrightwood659.org</a>. Hours of Operation and TicketsWrightwood 659 is open Thursdays 12 noon-7 pm; Fridays 12 noon-7 pm;&nbsp;Saturdays 10 am-5 pm.&nbsp;Tickets for the trio of exhibitions opening October 3 go on sale Thursday, September 4. Admission is $20 and is available online only at<a style="color: blue;" rel="noopener noreferrer" href="https://protect.checkpoint.com/v2/___https:/tickets.wrightwood659.org/events___.YzJ1Om5ld3N3ZWJsbGM6YzpvOjkxNmUxZTI1MGM2ZWQyZjc3MDI3ZjM5MDk0MDAxNzBjOjY6ZTM3NTo1ODVkZTEzMTZkZTNkMTU1ZTU4MTZhNmM5ZjI5N2I3NTQzODExNGFmNjY5MTllMDUzZWZmNWQwNGU5ZDgwMThkOnA6VDpG" target="_blank">https://tickets.wrightwood659.org/events</a>. Please note, admission is by advance ticket only.&nbsp;Walk-ups are not permitted.

Scott Burton: Shape Shift

The Joffrey + Ballet in the U.S.

After months of scheming and planning, we're thrilled to announce our year-end exhibition: General Strike. Working in acrylic, oil, ceramic, textiles, fire, pencil, watercolor, and vintage wallpaper, more than 70 artists have conceived of one-of-a-kind matchboxes for this incredible show. What does solidarity mean for the artist? Or, what can art do in a time of crisis? The concept of a general strike is appealing to many advocates and activists because, in the face of oppression or inequality, it’s one of the few options available to the general public. General strikes are sometimes thought of as the “people’s veto,” and for the un-unionized among us, are less about joining our colleagues on the picket lines and more a call for solidarity. They ask us to pinpoint our strengths and identify how our skills can best be of use. Writing about the need and dream of solidarity, activist and novelist Sarah Schulman describes recognition, risk, and creativity as the essential tools in harnessing “the people power necessary to reach the tipping point that transforms lives and, in the most extreme conditions of brutality, actually saves lives.” For artists, these three tenets–recongition, risk, and creativity–are often already the building blocks of a practice. Discerning eyes and trenchant observations, personal sacrifices and provocative positions, combined with a wealth of imagination, are evident in both the studio and the streets. Artists are in many ways world-builders, helping to illuminate what’s previously gone unnoticed or otherwise been thought impossible. In&nbsp;General Strike, we witness more than 70 approaches to a singular object: a large, wooden matchbox. Containing purple-tipped matchsticks, these vessels of potential display a wide array of mediums and methodologies offered by artists across North America. While some revel in whimsy, beauty, and the pleasures of life, others direct us toward bold, decisive action. All, in their own ways, speak to an innate impulse to transform something simple into another thing entirely. Like any crisis, whether tangible or of conscience, what’s required is a variety of responses, the best of which fan the flames of courage and ultimately insist on our shared humanity. The particularities of such approaches–and those stoking their creation–are what make this fight worthwhile, especially when we’re all striking together. General Strike&nbsp;opens on November 21 and runs through December 20. <ul><li>Please&nbsp;<a style="color: inherit;" rel="noopener noreferrer" href="https://luma.com/52i11blf" target="_blank">RSVP to our opening reception</a>, and join us for libations, friends, and s'mores.&nbsp;</li></ul> <ul><li>Interested in work? Join the&nbsp;<a style="color: inherit;" rel="noopener noreferrer" href="https://dashboard.mailerlite.com/forms/236793/146322049895236908/share" target="_blank">collector preview</a>.&nbsp;</li></ul>&nbsp;A portion of the proceeds from all work sold in General Strike will be donated to the ACLU.

General Strike

We know you've been enthusiastically waiting all year for our Annual Small Print Show &amp; Holiday Sale to come back! It is the 36th year of this incredible shindig and we are so excited to show new prints created by our CPC members, gallery artists, and faculty. Small prints make the perfect gift for the holidays or for yourself. Artist-made cards, books and other stocking-stuffer goodies will also be available. Sip delicious spiced cider and graze the famous CPC holiday snack table while you peruse the gorgeous array of affordable, small handmade prints from around the globe. A great event the whole family can enjoy. Featured Artists:﻿Grazvyda Andrijauskaite (Lithuania), Joanna Anos, Hiroshi Ariyama, Carlos Barberena, Coco Berkman, Matt Bodett, Bright (Thailand), Deirdre Britt, Molly Brodzeller, Cyan Carey, Ashley Chan, Sanchai Chaiyanan (Thailand), Temjai Cholsiri (Thailand), Alberto Cruz (Mexico), Mehdi Darvishi (Iran), Tony Fitzpatrick, Brenda Friedman, Ann Marie Greenberg, Susan Hall, Olga Hautin, Juana Hernandez, Teresa James, Eric Johnson, Srijai Kantawang (Thailand), Raeleen Kao, Melissa Keller, Amos Paul Kennedy Jr., Scott Kiefer, Jill Kramer, Ammarin Kuntawong (Thailand), Deborah Maris Lader, Kim Laurel, Carrie Lingscheit, Barton Longacre, Amornthep Mahamaet (Thailand), Michelle McCoy, Maria Mungai, Kumi Obata (Japan), Dennis O’Malley, Kathryn Polk, Painted Tongue Press, Steve Prince, Jaco Putker (Netherlands), Emma Radulski, Joel Rendon (Mexico), Artemio Rodriguez (Mexico), Jay Ryan, Seth Savarick, Jeff Sippel, Yuttana Sittikan (Thailand), CHema Skandal!, Sarah Smelser, Starshaped Press, Lauren Steinert, Thessalia Stephanou, Megan Sterling, Jerawit Surtsit (Thailand), Narit Tananon (Thailand), Sanon Tempiem (Thailand), Kitikong Tilokwattanotai (Thailand), Stephanie Toral, Delia Touché, Kouki Tsuritani (Japan), Nicola Villa (Italy), Suttipong Vongson (Thailand), Art Werger, Cleo Wilkinson (Australia), Eric Wilson, Catherine Winings and others.

36th Annual Small Print Exhibition & Holiday Sale

SAWHORSE is pleased to present Great Mud Flood, a group exhibition featuring work by Ryan Richey, Yigit Ural, Fallon Wrede, Pedro Albertini, Amy Pearl Lang, and Jackson Daughety.

Great Mud Flood

CSI Member Benefit Art AuctionLittle, But Bold is in celebration of all things unmonumental. Often flying under the radar, small things have the special ability to bridge private and public spaces. Within the sculpture field, there has been a projected narrative that bigger is better. We are here to assert that small things can hold the same importance as the largest monument.

CSI Project Space: Little, but Bold! 

Witches are guardians of suppressed forms of knowledge; they channel ancestral wisdom and embodied practices that have long been dismissed or feared. Visionary agents of transformation, spiritual practitioners conjure alternative futures through acts of resistance, imagination, and care.&nbsp;Witches, Bitches: Witchcraft as Empowerment&nbsp;explores the rise of the occult, new spirituality, and magic in contemporary culture, and reads it as a symptom of undergoing social transformations. Featuring contemporary artists who challenge dominant systems of patriarchy and colonialism to reclaim power on their own terms, this exhibition situates the practice of witchcraft into the past, present, and future acknowledging it as a form of feminist and political empowerment, and a radical proposition for a fully decolonial way of being.&nbsp;Witches, Bitches&nbsp;brings together works that engage with the iconography, stereotypes, and active practices of witchcraft to explore themes of spiritual power, collective energy,&nbsp;alternative cosmologies, and environmental consciousness. The exhibition features works spanning from the 1970s to the present by about thirty women-identifying international artists from different generations. Some of them self-identify with witchcraft or draw on practices of magic and spirituality, while others engage these themes through a critical and defiant lens. The exhibition will be accompanied by a robust public program including a talk series with public scholars and authors specializing in witchcraft, workshops in spell-casting with witchcraft practitioners, programming for families, performances, panel discussions with artists from different generations, and film screenings.&nbsp;Witches, Bitches: Witchcraft as Empowerment&nbsp;is co-curated by Ionit Behar, PhD, DPAM Curator, and Magdalena Moskalewicz, PhD, Chief Curator and Associate Director for Curatorial Affairs, Sheldon Museum of Art, and organized by DePaul Art Museum. Support for this exhibition is provided by The Andy Warhol Foundation for Visual Arts.&nbsp;More <a rel="noopener noreferrer" href="https://resources.depaul.edu/art-museum/exhibitions/Pages/witches-bitches-witchcraft-as-empowerment.aspx" target="_blank">Details</a> Image credit: Tirtzah Bassel,&nbsp;Four Sweepers of the Apocalypse,&nbsp;2025. Oil on canvas. 72 x 96 in. Courtesy of the artist.

Witches, Bitches: Witchcraft as Empowerment

Iñigo Manglano-Ovalle’s (b. 1961) current practice creates objects that blur the line between art and utility, ultimately inviting viewers to meditate on the role and “usefulness” of art in society. His approach challenges notions of function, beauty, and purpose in art by making works that resemble utilitarian objects but often serve no conventional practical purpose—or, alternatively, reveal surprising functionality that critiques broader sociopolitical or environmental concerns. One could say that Manglano-Ovalle has a phenomenological practice (the study of how we experience things through our senses and perceptions)—he places profound importance on the viewer’s sensory and intellectual experience, emphasizing how art can engage the body and mind in ways that go beyond representation.&nbsp;Manglano-Ovalle’s solo exhibition at DePaul Art Museum&nbsp;presents site-specific works that are both familiar and opaque, encouraging viewers to confront ambiguity and engage in deeper contemplation. Our experiences are never predetermined; they exist at the intersection of the private and the public, the personal and the shared. However deeply felt, they are also open to examination. Manglano-Ovalle’s work calls us to inhabit the present moment fully, urging us to consider: How does the work draw us in, and how do we, in turn, respond to it—right here, right now?&nbsp;Iñigo Manglano-Ovalle’s exhibition is curated by Ionit Behar, PhD, and organized by DePaul Art Museum.&nbsp; Image credit: Iñigo Manglano-Ovalle, Untitled, 2023. Pine and graphite. Courtesy of the artist.&nbsp;

Iñigo Manglano-Ovalle: A Want for Nothing

“Tengo Lincoln Park en mi corazón: Young Lords in Chicago” explores the Young Lords Organization's trajectory in the Lincoln Park neighborhood. Gentrification and urban renewal displaced the vibrant Puerto Rican community of the 1950s and 1960s. Originally a street gang, the Young Lords transformed into a prominent civil rights organization.&nbsp;<a rel="noopener noreferrer" href="https://click.agilitypr.delivery/ls/click?upn=u001.DMJAPtLMia7h-2FoQouHpZ7VucsQcy3YmuN9E-2BBveaH488JEjYiLL6gNNvfxkw-2FGqyXcJ0Mk6-2BmX21J9JiYsIHXzENjzM2kQUb5rLOElK1dhV69SYpdTqREc3e7jN4PgfJPYhyLo7-2BAld1-2FJUzovRT1g-3D-3DuNLS_0g5QiKQ3ANfCkWXxwzczn1phIok0-2FnBF8GNWXrNhq2-2B4ftGj9DI8Jn4AfRAGeAJVr5d8tZaUkO86wELMDcgOg2JJnq4MYeWc7vJT8UFoP9JB4ktPrjnyT0Q-2FgJDbrrl4gKCk3EQ7EQCKK7Y-2B8HvMMN5HreRSKCKXooND8rxLMCbg-2B05tGi82LGb3OISpzjoVvNgw2sPbWSU7IbcWae7HM9JoWTFkwW5YoLJI26ngy3AkfG50sS15PTIRzqm6Xq8xg4JTDnNCSo49XfmFsOiKdBMTb1it82ohrC8v4yi79AI-2Feu-2FfnhrSxpeKJACjPI33Ac6lAR9ifJFK0op4yLggtB7tMaRoR5VfNcuQixNIBNkVp59o7I5P2w57eXAwKl052-2FXVJz-2FJ0MmeAsEo-2FxV1a7CKY8uui3w612dejPzEw-2BTQSuMdoVcWV0e5bKErNGydSEd4FTVtC-2B4i2SFYXlasyXoiAaC8IqnO6QOzviL41Kc-3D" target="_blank">Curator and faculty member Lazú</a>&nbsp;is recognized as a leading scholar of the Young Lords Organization and helped establish<a rel="noopener noreferrer" href="https://click.agilitypr.delivery/ls/click?upn=u001.DMJAPtLMia7h-2FoQouHpZ7V-2BNjmn91WVUUN2-2Fz4l6r58oGmh5RnBYP1-2BidTW12IE5zDqc1VXBwp11yHHAQUpxiOw6A8kd7Aa-2FmNXcX27Ibv0-3Drbby_0g5QiKQ3ANfCkWXxwzczn1phIok0-2FnBF8GNWXrNhq2-2B4ftGj9DI8Jn4AfRAGeAJVr5d8tZaUkO86wELMDcgOg2JJnq4MYeWc7vJT8UFoP9JB4ktPrjnyT0Q-2FgJDbrrl4gKCk3EQ7EQCKK7Y-2B8HvMMN5HreRSKCKXooND8rxLMCbg-2B05tGi82LGb3OISpzjoVvNgw2sPbWSU7IbcWae7HM9JoWTFkwW5YoLJI26ngy3AkfG50sS15PTIRzqm6Xq8xg4JTDnNCSo49XfmFsOiKdBMTb1it82ohrC8v4yi79AI-2Feu-2FfnhrSxpeKJACjPI33Ac6lAR9ifJFK0op4yLggtDIbp275btVB9OOkgETcHRh-2Fr1dH1NQcsk5j2s5jnl-2ByFsavGAbC6Krxq6psExt846nJXS1P1TcvF9H1bxgytih1OqQvWLHaVyrV5Ugxhon5ZOGg7-2BG3qee5-2FJTEqfxaoLqhfwQVnAMZ6YByWfds2hA-3D" target="_blank">&nbsp;DePaul's Young Lords special collections archive</a>&nbsp;as a destination of study on social movements.&nbsp;The exhibition explores the origins of the movement, emphasizing the concept of counter-mapping as a means of activism and community empowerment. Counter-mapping is a mapmaking approach that challenges narratives upheld by traditional maps, representing elements of a place that may have been overlooked or intentionally erased.The exhibition features archival materials, historical artifacts, photography, murals and prints, with works by Carlos Flores, Ricardo Levins Morales and John Pitman Weber. It also includes newly commissioned work by Sam Kirk and a central multimedia installation by Arif Smith with Rebel Betty, inviting visitors to engage with one of the most influential movements in Latinx civil rights history, rooted in the everyday struggles of a Chicago neighborhood."Tengo Lincoln Park en mi corazón confronts the erasure of the spaces that gave rise to the Young Lords’ fight for justice,” said Lazú. “These works reclaim that ground, making visible the neighborhood that shaped the movement and insisting that its memory of struggle and community endures."&nbsp;﻿Image credit: A member of the Young Lords writes in chalk as a family looks on during a Puerto Rican heritage festival at the Armitage Methodist Church, 1969. ST-40001976-0057, Chicago Sun-Times collection, Chicago History Museum.

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