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

Dec. 13 – Jan. 30, 2026 CSI Project Space: Little, but Bold! CSI Member Benefit Art Auction

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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