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

Image: Covering, 18"x18", Watercolor squares on Paper by Annelise Bronsveld

Piecemaker: Solo Exhibition by Annelise Bronsveld

Charlotte Walsh is a painter and illustrator who lives in Chicago. She has been honing her skills&nbsp;as an oil painter for the past several years. Originally a college athlete, she began drawing and&nbsp;design classes at St. Norbert College. During the pandemic she furthered her studies at Palette&nbsp;&amp; Chisel Fine Art Academy to focus on oil painting. Her work focuses on pushing the boundaries&nbsp;of everyday life to create a world of escapism.&nbsp;Charlotte Walsh, painter “My subject matter is otherworldly places. I take simple objects or&nbsp;people and create a world full of imagination and movement. My work could be found outside in&nbsp;nature or in a fantasy world. My goal is to inspire others to create their own dream world.” ​For more information on Charlotte's work, you can visit her website at:&nbsp;<a style="color: rgb(32, 81, 155);" rel="noopener noreferrer" href="https://charlottewalshart.com/" target="_blank">charlottewalshart.com/</a>

Charlotte Walsh

<h5><a rel="noopener noreferrer" href="https://www.eventbrite.com/e/1096400526489?aff=oddtdtcreator" target="_blank">Buy Tickets</a></h5> •&nbsp;Friday, Feb 21: First Look&nbsp;Champagne&nbsp;&amp; Wine Preview Night•&nbsp;​Saturday and Sunday, Feb 22 and 23 - Regular Fair Hours Located on the fabulous Randolph St. Restaurant Row&nbsp;in Stephen M Bailey Auditorium, ​Plumbers Hall Featuring over 40 invitation-only artists from 8 states, this Midwest inaugural event takes place at Plumber's Hall,&nbsp;the historic&nbsp;Beaux-Arts building in Chicago's trendy and convenient West Loop.​Artists will be on-site for direct sales, offering the opportunity for attendees to purchase Fine Art at fair market value. Expo Hours:Saturday, 10AM - 6PMSunday 11AM - 5PM Friday night First Look Preview 6PM to 9PM Free and Low Cost Onsite Parking&nbsp;&nbsp; On-site Art Shipping Service&nbsp;

West Loop Contemporary 

Sacristy Gallery Teasers, tormentors and scrims are types of curtains used in the theater. They define the space of the stage, and they shape the illusions we see there. Like the theatrical curtains of this title, the curtains represented in these paintings play multiple roles. They act as a figure, a ground, a backdrop, a partition, a lush symbol of authority, a decoration, a convincing illusion, a dissolving ghost image, a remnant of the past, and a surface onto which we project our associations. Likewise, the paintings themselves shift perceptually between space and flat surface, appearing and disappearing, revealing and concealing.These works take Hans Holbein's 1533 painting&nbsp;The Ambassadors&nbsp;as a model through which to explore the uncertain nature of perception and the visual rhetoric of representation.&nbsp;The Ambassadors&nbsp;is a double portrait of two men sent as diplomats by King Francis I of France to King Henry VIII of England, probably in the hope of convincing Henry not to divorce and leave the Roman Catholic Church. Holbein's painting is a tour de force of Sixteenth Century Northern European realistic representation whose extraordinary attention to observable details suggests great faith in the truthfulness of sight, while the inclusion of a prominent and spatially ambiguous anamorphic image complicates the painting's visual illusion and injects a note of doubt into this statement of faith. Carrelli’s paintings here are part of a larger series titled&nbsp;Profane Mimesis. They mimic and reinterpret their source, employing a combination of selective imitation and alteration of Holbein's painting to give form to the tensions between sight and vision: between what we see and what we believe it must mean. They are not religious paintings, and neither is Holbein’s. Indeed, the title&nbsp;Profane Mimesis&nbsp;might even suggest that the act of imitation is kind of desecration. However, these paintings do express a dialectic of faith and doubt in the power of images: a combination of love and mistrust of sight. Shown here, in what was once the sacristy of the Episcopal Church of the Epiphany, these paintings have the opportunity to echo and converse with this elegant and rhetorically seductive environment. For more information, go to: www.epiphanychi.com Photo credit: Steven Carrelli

Steven Carrelli: TEASER, TORMENTOR, AND SCRIM

Chase Gallery The South Side of Chicago is a precarious environment to navigate. This was true in the 70’s and remains true today. For those kids that were left alone to explore the South Side neighborhoods, this body of work speaks directly to them. The adult world colliding with adolescent minds; the conversations, sights, sounds and smells that shaped lives and influenced decisions. Branton attacks both canvas and paper to explore these memories and feelings. Comedians deal with trauma through laughter, while Paul Branton tackles these internal demons with vivid colors, unwavering truth and bits of humor. These drawings and paintings create a dialogue for healing. For more information, go to: www.epiphanychi.com Photo credit: Paul Branton

Paul Branton: LATCHKEY KID: AN INTERNAL PERSPECTIVE

Sanctuary Hall Gallery Pierce my arteries and watch my skin circumflexWarp like a bow in the act of precisionTake until you cannot anymoreAnd contort the blameThis is no longer a responseNo longer a response to the loss we have faced as a peopleBut steady strides to our collective peaceTranquility granted by the green from our motherResistance spoken from the depths of brownMy skin isn’t seared it is gracedIn partnership with your warmth For more information, go to: www.epiphanychi.com Photo credit: David Ese Gagoh

David Ese Gagoh: TEMPLE

Catacombs Gallery In his new electrifying series, Tom Eslinger dives deep into the colorful tapestry of human experience, drawing inspiration from a kaleidoscope of influences that span decades. Imagine the sensory overload of his childhood disco singles collection, the rebellious thrill of sneaking peeks at David Bowie and Sylvester's tantalizing late-night TV performances as a teen, and more recently, deep-diving in the vivid stories captured in the Gay New York of the 1970s and ‘80s Facebook Group. Eslinger’s art pulses with the rhythms of songs, capturing the essence of sexual exploration, awkward one-night stands, visibility and sexual identity. The show, aptly titled&nbsp;Left To My Own Devices&nbsp;after a Pet Shop Boys song, embodies a cheeky, flirty spirit that resonates with authenticity and daring. The show’s title artwork provocatively asks, “Left to my own devices, I probably would…” —challenging viewers to contemplate the boundaries of desire and being a little bit bad. Whether you’re an art enthusiast, a music lover, or someone who relishes in the richness of visual narratives, Eslinger’s work invites you into a world that is as naughty as it is honest. For more information, go to: www.epiphanychi.com Photo credit: Tom Eslinger

Tom Eslinger: LEFT TO MY OWN DEVICES

Hale Ekinci, Azadeh Gholizadeh, Roni Packer, Marina Peng, and Yasmin Spiro&nbsp; Curated by Lauren Leving Goldfinch is proud to present&nbsp;legacy as lexicon, a stand-in for my voice, a group exhibition in Gallery I featuring works by Hale Ekinci, Azadeh Gholizadeh, Roni Packer, Marina Peng, and Yasmin Spiro. Emphasizing texture as a trigger for haptic memory, or “touch memory,” each artist combines historical crafting practices with contemporary techniques, revealing their individual and ancestral narratives as continuous threads in an interwoven tapestry.&nbsp; “Together, these five artists use craft to share personal memories shaped by intergenerational experiences and the world around them,” says Lauren Leving, the exhibition’s curator. “Using tangible materials to 'speak,'&nbsp;they draw on traditional methods of passing down culture while experimenting with new modes of memory dissemination.”&nbsp;&nbsp; Hale Ekinci combines Middle Eastern and Western art-making traditions in her embroidered paintings. An avid crocheter, she pairs ornamentation found on Turkish&nbsp;oya&nbsp;(lace) and kilim rugs with familial archival imagery. Using techniques like slow stitching and collage to incorporate personal narratives and historical references into her work, Ekinci challenges perceptions of what is often considered women's labor. Embedding cultural symbols and personal relics into textiles like “New New House,” the artist explores complex narratives of belonging and connection, as well as the immigrant experience. Azadeh Gholizadeh’s felt and embroidered tapestries explore the body, landscape, memory, and the singularity of perception. Teetering on the edge of abstraction, her scenic compositions use pixilation to depict views of different landscapes she encounters. These works function equally as windows into her emotional journey and ongoing exploration of belonging. By fusing traditional embroidery techniques with contemporary artistic practices (collage, sculpture, digital rendering), Gholizadeh’s viewpoints become portals that transcend time and place, connecting her memories of Tehran with her present experiences in the United States.&nbsp; Roni Packer’s works also highlight the artist’s use of materials as a grounding for self-reflection.&nbsp;For Packer, painting is an intimate process; her&nbsp;No Paint&nbsp;series demonstrates this intimacy through the subtle relationships tethering her body to her material choices. The pale beige of her canvases becomes the wide expanse of her homeland desert, for example, while the fringe that crowns&nbsp;Untitled (Split)&nbsp;recalls the artist’s own, blunt-cut bangs. Displayed together, Packer’s body of work is both a self-portrait and a snapshot of the artist’s daily life – comprising “a body” in more ways than one. While the works of Gholizadeh and Packer use abstraction to create glimpses into their worlds, Marina Peng’s weavings depict fully-formed imagery. Using frenetic, spiraling gestures and the impulsive snip of scissors, Peng’s textiles capture bodies in motion, communicating the behavior patterns that shape familial dynamics. At once personal and universal, Peng’s textural narratives extend outwards, bringing us into her story and reminding us of our own. Yasmin Spiro uses jute, driftwood, and rope to evoke the muted tones and textures of Caribbean architecture. These organic and fiber-based materials, which for Spiro are symbolically connected to the landscape and culture of Jamaica, are employed by the artist as a means of examining her unique personal and cultural identity. In textiles like “Grain of Sand,” Spiro invites viewers to engage with the memories and histories her work evokes, in hopes of encouraging dialogue about landscape, heritage, and the tactile experience of touch memory.&nbsp;legacy as lexicon: a stand-in for my voice&nbsp;runs from January 25 through March 8, 2025. The exhibition’s opening reception will take place on January 25 from 2 - 5pm and is free and open to the public.&nbsp; <h6>Artist Biographies</h6> <a style="color: rgb(0, 0, 0);" rel="noopener noreferrer" href="https://goldfinchgallery.us1.list-manage.com/track/click?u=857fcb5b671b71824107951c2&amp;id=81dbc7fc41&amp;e=eea4831c04" target="_blank">Hale Ekinci&nbsp;</a>is a Turkish-American artist based in Chicago. Rooted in her lived experience as an immigrant, Ekinci creates embroidered paintings, sculptures, installations, and videos embellished with vibrant colors, patterns, and cultural artifacts. Combining Middle Eastern and Western textile craft and fine art traditions, she explores identity, folklore, communication, and gendered labor. She received her MFA in Interdisciplinary Arts &amp; Media at Columbia College Chicago and is currently a professor and chair of Art &amp; Design at North Central College.Ekinci was recently the Engaged Artist-in-Residence at the Gayle Karch Cook Center at Indiana University, including a solo exhibition in Fall 2024. Previously, she was also an artist-in-residence at ACRE, Jiwar Barcelona, Momentum Berlin, Elsewhere Museum, Chicago Artists Coalition Hatch, Spudnik Press, and Facebook Chicago. Her work has been exhibited nationally at EXPO Chicago, One After 909, Woman Made Gallery, Koehnline Museum of Art, University of Illinois Springfield, Dittmar Gallery (NU), and Queens College Art Center. Her videos have been screened internationally in New York City, Berlin, Warsaw, and Jerusalem. She is the recipient of the Fiber &amp; Figure award by the Surface Design Association and the best in show at the South Bend Museum of Art’s 30th Biennial. <a style="color: rgb(0, 0, 0);" rel="noopener noreferrer" href="https://goldfinchgallery.us1.list-manage.com/track/click?u=857fcb5b671b71824107951c2&amp;id=3244c1fb57&amp;e=eea4831c04" target="_blank">Azadeh Gholizadeh</a>&nbsp;was born in Tehran, Iran. Her&nbsp;works explore the body, landscape, and the fragmentation of memory through an examination of her own emotional connection to a sense of belonging. She is interested in thinking about the relationship of landscape to memory in a manner described by Simon Schama as "a way of looking; of rediscovering what we already have… instead of being yet another explanation of what we have lost, it is an exploration of what we may find.”Gholizadeh received an MFA from the School of the Art Institute of Chicago in Illinois in 2012; a Master’s of Architecture and Urbanism from Iran University of Science &amp; Technology in Tehran, Iran, in 2009; and a Bachelor of Architecture from the School of Architecture and Urban Planning at Shahid Beheshti University in Tehran, Iran in 2006. Solo exhibitions of Gholizadeh’s work include&nbsp;Dawn to Dusk&nbsp;at Goldfinch in Chicago, Illinois;&nbsp;Oh, Swallow, where do you live in Winter?&nbsp;at Apparatus Projects in Chicago, Illinois; and&nbsp;Withing the Threshold&nbsp;at Chicago Artist Coalition’s Bolt Space in Chicago, Illinois. In 2022, Gholizadeh was a Chicago Artadia Awardee and Hopper Prize Spring Chapter winner. In 2017, Gholizadeh was the recipient of a Brenda Green Gender Inclusivity Scholarship for participation in the ACRE Residency program. Above all else,&nbsp;<a style="color: rgb(0, 0, 0);" rel="noopener noreferrer" href="https://goldfinchgallery.us1.list-manage.com/track/click?u=857fcb5b671b71824107951c2&amp;id=d57fbec9fb&amp;e=eea4831c04" target="_blank">Roni Packe</a>r&nbsp;sees herself as a colorist; “I use color to trace the relations between painting and space, in a search for a material presence that can generate a vague memory,” she notes. Packer&nbsp;was born and raised in Tel Aviv. She completed a BFA and a BA in philosophy before moving to the United States in 2014.&nbsp;Packer received her MFA from the University of Illinois-Chicago in 2017 and was a BOLT resident at the Chicago Artists Coalition the following year. In 2020, she returned to Tel Aviv, where she is based now. Packer’s work has been shown in various spaces from Chicago (Hyde Park Art Center, 6018 North, The Ukrainian Institute of Modern Art, Gallery 400, Aspect/Ratio, LVL3, Roots and Culture, Chicago Cultural Center, and others) to Israel (Bat Yam Museum of Art, The Lobby Art Space, Almacén Gallery, Benyamini Contemporary Ceramics Center, The Jerusalem Artists’ House, and others).&nbsp; <a style="color: rgb(0, 0, 0);" rel="noopener noreferrer" href="https://goldfinchgallery.us1.list-manage.com/track/click?u=857fcb5b671b71824107951c2&amp;id=3caa070e8e&amp;e=eea4831c04" target="_blank">Marina Peng</a>&nbsp;is a multimedia artist from St. Louis, MO, working across fiber, sculpture, and photography. She received her BFA from Washington University in St. Louis. She has exhibited her work locally and regionally at spaces, including ACRE Projects, Dream Clinic Project Space, Duane Reed Gallery, G-CADD, The Kranzberg, The Luminary, and PLUG. She has attended residencies at ACRE, Caldera Arts, Craft Alliance, Elsewhere, the Hambidge Center, Otis College of Art &amp; Design, and the Vermont Studio Center. Recent awards include a Puffin Foundation Grant and a Vermont Studio Center Fellowship. In addition to her practice, she is a co-organizer of PSA, a citywide public art initiative in St. Louis. <a style="color: rgb(0, 0, 0);" rel="noopener noreferrer" href="https://goldfinchgallery.us1.list-manage.com/track/click?u=857fcb5b671b71824107951c2&amp;id=bcd32af16e&amp;e=eea4831c04" target="_blank">Yasmin Spiro</a>&nbsp;is a Jamaican artist living and working in Chicago. Spiro’s work is multi-disciplinary, primarily based in sculpture and immersive installation, with video, drawing, and performance—exploring issues of land and the environment, cultural identity and socio-economic issues within the framework of architecture, personal history, spirituality, and memory—often through the lens of Caribbean culture. Much of her work is textile-based, incorporating burlap, rope, and felt, with integrated cast elements of plaster, ceramic, and cement—creating forms that often reference vernacular architecture, and the knowledge and memory that's held in those structures, as well as the history embedded in craft and making.&nbsp;Spiro attended Pratt Institute and has held residencies at the Hyde Park Art Center, The Dora Maar Foundation in France, The Kohler Arts and Industry residency, Vermont Studio Center, and the Hatch Chicago Artist Coalition residency. Her work was recently exhibited at the Arts Club of Chicago and The Tapestry Alliance of America. She has an upcoming solo exhibition at the Hyde Park Art Center in Chicago. Curator Biography: Lauren Leving (she/her) is a curator and writer based in Chicago, IL. She is Curator-at-Large at the Museum of Contemporary Art (moCa) Cleveland and Exhibitions Director at ACRE Projects in Chicago. In 2023, she co-curated&nbsp;Everlasting Plastics, which was originally presented in the U.S. Pavilion during the 2023 Venice Architecture Biennale and traveled to the Carnegie Museum of Art in Pittsburgh, PA. While at moCa Cleveland, Leving organized multiple curatorial projects including Ruben Ulises Rodriguez Montoya’s first solo museum exhibition,&nbsp;Skinchangers: Begotten of my Flesh; a large scale textile commission by Aram Han Sifuentes titled&nbsp;Messages to Authorities (Go Away!);&nbsp;Nina Chanel Abney: Big Butch Synergy; and&nbsp;Don’t mind if I do, a group exhibition stewarded by Finnegan Shannon.&nbsp;&nbsp;Previously, Leving was a Curatorial Fellow at Hyde Park Art Center and Exhibitions Manager for Wrightwood 659. Leving holds an MA in Museum and Exhibition Studies from the University of Illinois–Chicago and a BA from Tulane University. Header image: Marina Peng,&nbsp;I'll show you (less and less), 2024,&nbsp;Wool and cotton, 56 x 74 inches (142.2 x 188 cm)

legacy as lexicon: a stand-in for my voice

Goldfinch is thrilled to present&nbsp;The devil is in the details, a solo exhibition in Gallery II featuring work by the late visual artist and drag performer Jerome Caja.&nbsp; The devil is in the details&nbsp;offers an intimate look at the artistic legacy of Jerome Caja, who left an indelible mark on the queer underground art scene in San Francisco during the 1980s and early 1990s. Born in 1958 in Cleveland, Ohio, Caja moved to San Francisco in 1985, quickly becoming a central figure in the city’s vibrant and tumultuous art and performance landscape. Known for his audacious drag performances and his role as a beloved party host amid the AIDS crisis, Caja transformed personal trauma and social commentary into deeply compelling works of art that reflect an interplay of humor, horror, and spirituality. Guest curated by Lauren Leving,&nbsp;The devil is in the details&nbsp;focuses on Caja’s small-scale works, all of which have humorous or ribald details that encourage slow and intentional looking. Primarily composed on unconventional surfaces such as plastic tip trays, bottle caps, pistachio shells, and tiny metal tins, Caja’s art is characterized by its use of nail polish, glitter, found objects,&nbsp;and occasionally, the ashes of his late friend, Charles Sexton.&nbsp;In this work, the artist regularly queered elements from his midwestern Catholic upbringing, capturing saints and other religious figures in obscene or grotesque scenes. Caja was also known for repeating symbols, imbuing them with meaning the more he used them. For example, he regularly included egg imagery in his work, seen multiple times throughout this show including Untitled (egg match box), which features two melancholy birds embracing and a hatched egg hovering over its shell. Inside, an egg cooks in a miniature frying pan, a sinister yet playful exploration of death. Bringing together a selection of works from different periods in Caja’s creative output, including some pieces that were never finished,&nbsp;The devil is in the details&nbsp;"provides audiences with&nbsp;the opportunity to experience Caja’s meticulous process and the intricacy of his work at multiple stages,” says Leving. Jerome Caja:&nbsp;The devil is in the details&nbsp;runs from January 25 through March 8, 2025. The exhibition’s opening reception takes place on January 25 from 2 - 5pm.&nbsp;&nbsp; &nbsp;Artist’s Biography Jerome Caja (b. 1958, Cleveland, OH; d. 1995, San Francisco, CA) was an interdisciplinary visual artist and drag performer based in San Francisco from 1985 to 1995. A fixture of the queer underground scene amidst the AIDS crisis, Caja became a renowned persona known for his irreverent style of drag and outrageous performance antics. Simultaneously, his object-based work, which included painting and sculpture, began receiving attention through exhibitions at Bay Area art spaces including Force Nordstrom, Gallery Paule Anglim, Yerba Buena Center for the Arts, and the San Francisco Museum of Modern Art.&nbsp;Using found objects and everyday materials including nail polish, white-out, and glitter, Caja created often-humorous miniatures that express themes of spirituality, mortality, and sexuality. He used recurring imagery such as Catholic saints, eggs, clowns, and birds, many imbued with the spirit of his midwestern Catholic upbringing. Caja received a BA from Cleveland State University and an MFA from the San Francisco Art Institute. He died from HIV-related complications in 1995, during the height of the AIDS-Art-Activism era in San Francisco. His work has been featured in exhibitions including&nbsp;Jerome Caja: Ugly Pageant, Bortolami Gallery, New York, NY;&nbsp;For Dear Life: Art, Medicine, and Disability, Museum of Contemporary Art, San Diego, CA;&nbsp;The Body, the Host: HIV/AIDS and Christianity, Allen Memorial Art Museum, Oberlin College, Oberlin, OH; and&nbsp;Art After Stonewall, Grey Art Gallery, New York University, and Leslie-Lohman Museum of Gay and Lesbian Art, New York, NY; Patricia &amp; Philip Frost Art Museum, Miami, FL; and Columbus Museum of Art, Columbus, OH. The artist’s work is also in numerous public collections including SFMoMA, the New York Public Library, and the Los Angeles County Museum. His papers and many small works are part of the Smithsonian's Archives of American Art. Header image: Jerome Caja,&nbsp;Untitled (egg matchbox), nail polish on matchbox and mixed media,&nbsp;1.5 x 2 x 0.5 inches.

Jerome Caja: The devil is in the details

Slemmons Gallery Since childhood, the flora of the natural world has delighted Ginny Krueger, and this serves as a springboard for her&nbsp;Transcendental Garden&nbsp;exhibit. The forms, color, and textures propose an invented world, and the physicality of materials lends to a multi-dimensional experience that engage the senses, while evoking the multifaceted layers of life. Krueger’s works are partially or entirely created using the encaustic medium – wax, resin, and pigment in a molten form, applied to wood and further cured through fire. Working with fire is alchemical, fugitive, mesmerizing, and unpredictable, which Krueger views as a moment-by-moment adventure and a process that is infinite in fluidity and possibility. Her works are also treasure troves of fabric, ceramic, paper and other materials. With the encaustic medium serving as the grip, Krueger arranges the materials into fanciful amalgams, or&nbsp;unlikely gardens&nbsp;that that depart from the expected, and conveys something entirely new in depth and complexity. The earth and its bounty have claim on Krueger. She is driven to make art that is elemental and evocative, where each painting is a medley, a melded place, where both the gritty and sublime combine. Each offering in the exhibit is an invitation into a transcendental world of beauty, whimsy, and mystery. For more information, go to: www.epiphanychi.com Photo credit:&nbsp;Ginny Krueger

Ginny Krueger: THE TRANSCENDENTAL GARDEN

Guild Room False Guides&nbsp;presents frozen moments from three interlocking stories of striving, deception, and perdition. John Behnke uses a rich mix of materials – colored pencils, alcohol markers, acrylics, oils, glaze, and glitter – layered to build scenes of hallucinogenic detail and vivid color. Behnke is known for his radiant, open skies, but scenes in&nbsp;False Guides&nbsp;play in a different register, taking us to realms of dust and shadow. In “The Wanderers” series, we follow a tribe of animated mannequins that populate an abandoned mall in Minnesota. They grope through the merchandise that remains in the ruins, seeking some semblance of an identity.&nbsp;Other works take us to different corners of Behnke’s re-imagined America – Texas and California. In both, cults fueled by promises of transcendence descend into orgies of self-destruction.&nbsp;“All these series are based on people being led in strange ways that warp an individual’s perspective and ultimately cause one’s demise,”&nbsp;the artist says.&nbsp; For more information, go to: www.epiphanychi.com Photo Credit: Project Onward

John Behnke: FALSE GUIDES

<a style="color: rgb(236, 0, 140);" rel="noopener noreferrer" href="https://randolphstreetmarket.com/schedule/#" target="_blank">Modern Vintage Chicago</a><a style="color: rgb(236, 0, 140);" rel="noopener noreferrer" href="https://randolphstreetmarket.com/schedule/#" target="_blank">Fashion &amp; Home</a> <a style="color: rgb(236, 0, 140);" rel="noopener noreferrer" href="https://randolphstreetmarket.com/schedule/#" target="_blank">April 27</a> <a style="color: rgb(236, 0, 140);" rel="noopener noreferrer" href="https://randolphstreetmarket.com/schedule/#" target="_blank">10am to 5pm</a> <a style="color: rgb(236, 0, 140);" rel="noopener noreferrer" href="https://randolphstreetmarket.com/schedule/#" target="_blank">Ravenswood Event Center</a><a style="color: rgb(236, 0, 140);" rel="noopener noreferrer" href="https://randolphstreetmarket.com/schedule/#" target="_blank">4025 N Ravenswood Ave.</a><a style="color: rgb(236, 0, 140);" rel="noopener noreferrer" href="https://randolphstreetmarket.com/schedule/#" target="_blank">Chicago, IL</a> Indoor See and shop a stunning selection of vintage clothing, jewelry, furniture, handbags and accessories from 1890’s-2000’s as well as global goods, decorative arts, vinyl and more!

Modern Vintage Chicago

<a style="color: rgb(236, 0, 140);" rel="noopener noreferrer" href="https://randolphstreetmarket.com/schedule/#" target="_blank">Randolph Street Market Festival May 24+25</a><a style="color: rgb(236, 0, 140);" rel="noopener noreferrer" href="https://randolphstreetmarket.com/schedule/#" target="_blank">10am to 5pm both days</a><a style="color: rgb(236, 0, 140);" rel="noopener noreferrer" href="https://randolphstreetmarket.com/schedule/#" target="_blank">1341 W Randolph St</a><a style="color: rgb(236, 0, 140);" rel="noopener noreferrer" href="https://randolphstreetmarket.com/schedule/#" target="_blank">Chicago, IL</a> Indoor &amp; Outdoor Randolph Street Market Fest PRESENTS Summer 2025 GARDEN PARTY Kick-Off! 200 Indoor/Outdoor Sellers! Find the best vintage, antique &amp; repurposed furniture, art, decor, ephemera, vintage fashion AND global goods. CONTINUOUS Live Music &amp; DJ’s! Fun Food &amp; Libations! <a rel="noopener noreferrer" href="https://randolphstreetmarket.com/schedule/#" target="_blank">Details</a>

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