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

Chicago-based artist Luna Prysiazhniuk presents&nbsp;Exposed, a solo exhibition of oil paintings focused on the structural presence of the urban landscape.In this body of work, Chicago bridges, elevated tracks, and industrial corridors become both subject and framework. The paintings explore weight, steel, surface, and the tension within built form. Structure is not treated as background — it becomes active, physical, and emotionally charged.Through layered brushwork and dense material surfaces, architecture shifts from something fixed and solid into something moving and alive. Steel exposed to time, weather, and light becomes a metaphor for endurance and transformation.

Exposed

PATRON announces&nbsp;Margin, our second solo exhibition with Chicago-based artist Daniel G. Baird.&nbsp;"…. I wanted to make something that brought me as close as possible to the horizon, to embody it in some way. I thought that to achieve this I’d have to orient my body horizontally, and float on the surface of the water, being both slightly submerged and in the open air. I’ve seen the horizon as a threshold between two states, whether between past and future, or the spatial experience of emerging from a subterranean space into the light. That point of convergence is the movement. To journey to the horizon is to anticipate death, and you need a vehicle for that.It struck me once that there is a scar on every human body that remembers water. We were all, once, aquatic — and the navel is where that ruptured. This surreal object on us all.On the western slope of a mountain in Jordan is a Byzantine church overlooking Jerusalem and the surrounding landscape. Fragments of a mosaic map cover the floor, covering its floor are fragments of a mosaic map charting landmarks and sacred events. One section of the map depicts two fish, facing one another. One swims downstream the Jordan River and the other, emerges, impossibly, from the Dead Sea.&nbsp;It lodged in me. The mind has its own gravitational pulls — images, moments, exert their force from years back, bending the present toward them whether you cooperate or not. Trout do it with their whole bodies. We do it in memory, which is maybe the same thing.&nbsp;It’s as though we’re all trying to get as far away from the place we’ve come from, like walking in a straight line around the globe only to meet ourselves exactly where we were…"–Daniel G. Baird&nbsp;

Daniel G. Baird: Margin

You ALREADY KNOW Won Kim. His influence can be felt across Chicago’s art, music, and culinary communities....And if you think you don't know the name Won Kim, you definitely know the name <a rel="noopener noreferrer" href="https://www.instagram.com/revisecmw/" target="_blank">@revisecmw</a>. He's a Chicago born N raised artist whose work moves between street art, graffiti, and contemporary fine art."He took on the moniker, REVISE, because he’d see that so often, in red ink, at the top of his homework assignments in high school. Revise became one of the best abstract graffiti writers in the Midwest due to his use of vibrant colors and fluid and organic, nature like lettering, making his name with the highly respected artist collective and graffiti crew, CMW." (<a rel="noopener noreferrer" href="https://www.instagram.com/kevincoval/" target="_blank">@kevincoval</a>)&nbsp;Beyond the studio, Won is also a prominent chef at the acclaimed @kimskichicago. His culinary prowess directly influences his artwork. Thinking on your feet while also being intentional with your practice blends structure with spontaneity and process with intuition.Won's solo show marks his first in ten years, following his previous solo show right here at Chicago Truborn, and represents a return that underscores both the evolution of his practice and his long-standing relationship with the gallery.It is an absolute honor to welcome back the one and only&nbsp;<a rel="noopener noreferrer" href="https://www.instagram.com/revisecmw/" target="_blank">@revisecmw</a> | <a rel="noopener noreferrer" href="https://www.instagram.com/sleepingisforsuckers/" target="_blank">@sleepingisforsuckers</a> | DJ Genghiswon <a rel="noopener noreferrer" href="https://www.instagram.com/kimskichicago/" target="_blank">@kimskichicago</a>&nbsp;

Won Kim: Everything I Know

65GRAND is pleased to present&nbsp;The Division Street Riots,&nbsp;a new exhibition by Chicago-based artist Carlos Rolón. The exhibition features new graphite and charcoal drawings, works on aluminum, a DIY bicycle sculpture with audio, and a hand-embroidered textile inspired by the 1966 Division Street uprising in Humboldt Park and West Town.On June 12, 1966, one day after Chicago’s first Puerto Rican Day Parade, police shot 20-year-old Arcelis Cruz near Damen and Division. The incident ignited three days of protest, marking the first major U.S. riot attributed to Puerto Ricans. The unrest exposed systemic police brutality, displacement through urban renewal, substandard housing, and educational inequities. It became a turning point in Puerto Rican civic life in Chicago, catalyzing grassroots political organizing and the transformation with the likes of the Young Lords into a civil rights movement.Nearly sixty years later, Rolón revisits this history through a restrained, material language that foregrounds memory, dignity, and collective witness. Drawing from archival photographs and community narratives, the works consider how histories of migration, protest, and belonging continue to shape American cities. At a time of renewed national debate around immigration, civil rights, and ICE enforcement, the exhibition reflects on how communities mobilize in the face of injustice and how solidarity becomes a form of cultural survival.The creation of this body of work was generously supported by a grant from the City of Chicago’s Department of Cultural Affairs and Special Events (DCASE). The artist also acknowledges the Segundo Ruiz Belvis Cultural Center for providing studio space during the development of the project. Founded in 1971 in the wake of the uprising, the Center remains a vital institution for Puerto Rican arts and culture in Chicago, continuing a legacy of education, preservation, and empowerment. Presenting this exhibition at 65GRAND, which is part of the cultural fabric of Humboldt Park and where the artist lives, brings the work into direct dialogue with the community from which its history emerges.Rolón (b. 1970) is known for a multidisciplinary practice spanning painting, sculpture, installation, and social engagement. His work has been the subject of solo exhibitions at major institutions including the New Orleans Museum of Art, Museo de Arte de Puerto Rico, Museo de Arte de Ponce, Dallas Contemporary, and the Baltic Centre for Contemporary Art, among others. In 2007, he represented Ukraine at the 52nd Venice Biennale and is a recipient of the Joan Mitchell Foundation Award for Painting and Sculpture. His work is held in numerous public collections internationally.The Division Street Riots invites audiences to reconsider a pivotal chapter in Chicago history and its urgent resonance today, asking how narratives of struggle, migration, and cultural pride continue to shape the evolving story of the Americas.Image: Carlos Rolón,&nbsp;Rebellion, 2026, Graphite on legion paper mounted on Dibond, 24 x 24 inches, Image credit: Clare BrittCARLOS ROLÓN

The Division Street Riots

Sale 6483<a rel="noopener noreferrer" href="https://freemansauction.com/auctions/6483-watches?page=1&amp;per=48&amp;tab=overview" target="_blank">Watches</a> Apr 15, 2026&nbsp;10:00AM CT<h2> </h2>Live / Chicago

Watches

<a rel="noopener noreferrer" href="https://j2gallery.com/" target="_blank">Jackson Junge Gallery</a>&nbsp;is proud to present their first group exhibition of the year,&nbsp;<a rel="noopener noreferrer" href="https://j2gallery.com/exhibitions/upcoming/" target="_blank">DUALITY</a>.&nbsp;This exhibition features the work of 24 artists&nbsp;who have set to create two pieces of art intended to be viewed as one piece, better known as a diptych. These diptychs in&nbsp;<a rel="noopener noreferrer" href="https://j2gallery.com/exhibitions/upcoming/" target="_blank">DUALITY</a>&nbsp;each highlight the opposition or contrast between two concepts or two aspects of something - yin and yang, day and night, indoors and outdoors, light and dark - to name a few.&nbsp;<a rel="noopener noreferrer" href="https://j2gallery.com/exhibitions/upcoming/" target="_blank">DUALITY</a>&nbsp;offers a variety of mediums and themes, creating a diverse viewing experience.&nbsp; Artists took multiple approaches to&nbsp;<a rel="noopener noreferrer" href="https://j2gallery.com/exhibitions/upcoming/" target="_blank">DUALITY’s</a>&nbsp;concept and theme. All opposing in some way, artists show this opposition in various principles including concept, style, medium, and color. Sabrina Katz’s&nbsp;<a rel="noopener noreferrer" href="https://j2gallery.com/store/special-exhibit/serenity-4/" target="_blank">“Serenity”</a>&nbsp;shows the opposing styles that can be utilized to portray Lake Michigan. “One painting leans into the calm, steady horizon, while the other is a collage whose layered textures create the sense of endless movement within the water. Together they show how the same place can feel different from moment to moment or look different depending on the viewer,” states Katz. Bumpy Wilson also showcases opposing styles in his painting titled&nbsp;<a rel="noopener noreferrer" href="https://j2gallery.com/store/artists/bumpy-wilson/choice-beef-ii/" target="_blank">“Choice Beef II.”</a>&nbsp;One painting in the diptych represents a minimal representation of a cow in a field, while the other shows the same image in a much looser abstract manner. Wilson expresses his interpretation of&nbsp;<a rel="noopener noreferrer" href="https://j2gallery.com/exhibitions/upcoming/" target="_blank">DUALITY</a>&nbsp;stating, “Without duality, without polarity, there is no choice, there is no unique expression of self, and in essence, no self at all. This diptych provides a visual representation of how choices can define an artist and their style.” Many diptychs in&nbsp;<a rel="noopener noreferrer" href="https://j2gallery.com/exhibitions/upcoming/" target="_blank">DUALITY</a>&nbsp;explore conceptual opposition. Dan Gemkow’s photographs,&nbsp;<a rel="noopener noreferrer" href="https://j2gallery.com/store/special-exhibit/watching-watched/" target="_blank">“Watching | Watched”</a>&nbsp;captures the moment of perception from two points of view. “Watching” shows a man outside looking straight on at the viewer, while “Watched” shows a woman looking out of a window, seemingly at the man. Gemkow states, “I applied an effect to the portrait of the female subject that inverted the highlights and shadows in the image to represent the distorted and abstracted way the male is seeing her. The male is printed normally without any added visual effects to show that the female is seeing him as he is and without any warped perception. I used these effects to symbolize a toxic personal relationship between the two subjects in the portraits.” Julian Guyton explores opposing subjects in his diptych titled,&nbsp;<a rel="noopener noreferrer" href="https://j2gallery.com/store/special-exhibit/we-the-people-no-1-we-the-people-no-2/" target="_blank">“We the People No. 1 | We the People No. 2.”</a>&nbsp;Guyton’s paintings represent his interpretation of what it means to be an American for those in power versus those who are not. In “We the People No. 1,” Guyton’s subject matters are meant to represent authority, including figures of a police officer and Uncle Sam. The phrase “together we stand, we the people” is shown in the piece, but questions who are these figures standing for?&nbsp;In “We the People No. 2,” Guyton shows a similar composition, this time showing three individuals representing black Americans. Guyton states, “The three characters in the piece are nods to my Blackness, taking an indirect approach while also inserting myself within the piece. The first figure, the bull, is an acknowledgment of my hometown (Chicago) while symbolizing the strength and resilience of the bull/black Americans. The second figure is just a business mogul; a creative that always strives for greater but is always problem solving and thinking. The last figure is the heart/spirt of black Americans. Moving through the world with unseen blessings to protect and cover our lives. Together we stand, we the people…” Opposing color and tone is also demonstrated in&nbsp;<a rel="noopener noreferrer" href="https://j2gallery.com/exhibitions/upcoming/" target="_blank">DUALITY</a>. Eugene Lee’s&nbsp;<a rel="noopener noreferrer" href="https://j2gallery.com/store/special-exhibit/breath-of-life-death-gasp/" target="_blank">“Breath of Life | Death Gasp”</a>&nbsp;captures ink drawings of abstracted lungs, but each piece shows an inversion of black and white. Lee states, “Together, the diptych uses visual opposition—light and dark, positive and negative space—to express the inseparable relationship between life and death. The lungs function as a unifying motif, reminding the viewer that every breath exists between these two extremes, and that vitality and mortality are not separate states, but mirrored halves of the same cycle.” Blake Adams shows opposition through color and black and white in his piece titled,&nbsp;<a rel="noopener noreferrer" href="https://j2gallery.com/store/special-exhibit/wichita-day-wichita-night/" target="_blank">“Wichita Day | Wichita Night.”</a>&nbsp;Adams’ illustrative painting style represents the Wichita prairie - both identical aside from color and tone - creating a completely new, yet familiar, space. With so many representations of what&nbsp;<a rel="noopener noreferrer" href="https://j2gallery.com/exhibitions/upcoming/" target="_blank">DUALITY</a>&nbsp;means, viewers are sure to enjoy the range of work these artists have offered. This exhibition shows there is no limit to how we can create and interpret duality, which then encourages more thought and conversation.&nbsp;<a rel="noopener noreferrer" href="https://j2gallery.com/exhibitions/upcoming/" target="_blank">DUALITY</a>&nbsp;will be on view at&nbsp;<a rel="noopener noreferrer" href="https://j2gallery.com/" target="_blank">Jackson Junge Gallery</a>March 2nd&nbsp;– April 19th, 2026, with an artist reception on Friday, March 6th&nbsp;from 6:00pm – 10:00pm. This exhibition is curated by Owners&nbsp;<a rel="noopener noreferrer" href="https://j2gallery.com/about/staff/chris-jackson/" target="_blank">Chris Jackson</a>&nbsp;and&nbsp;<a rel="noopener noreferrer" href="https://j2gallery.com/about/staff/laura-lee-junge/" target="_blank">Laura Junge</a>, Gallery Director&nbsp;<a rel="noopener noreferrer" href="https://j2gallery.com/about/staff/kaitlyn-miller/" target="_blank">Kaitlyn Miller</a>, and Gallery Assistant&nbsp;<a rel="noopener noreferrer" href="https://j2gallery.com/about/staff/marisa-taravella/" target="_blank">Marisa Taravella</a>.

Duality

The Ukrainian Institute of Modern Art is proud to present L.A. Woman, a memorial exhibition surveying the extraordinary life and multifaceted career of model, actress, artist, curator, and documentary filmmaker Irene Antonovych.Spanning decades and disciplines, the exhibition brings together works from every period of Antonovych's remarkable life, from competition-winning paintings she created as a teenager to student works produced in Canada and Los Angeles. And from modeling photographs to memorabilia from her tenure as cultural coordinator at Loyola Marymount University. The exhibition also celebrates her award-winning documentary films on American art, produced for Handel Film Corporation, as well as her deeply personal film Generations: A Documentary of Ukrainians in Chicago. Perhaps most poignant are the final paintings she made during her five-year contention with Alzheimer's disease. These works are quiet, powerful testaments to an enduring creative spirit.L.A. Woman also showcases Antonovych's personal art collection, reflecting the breadth of her artistic relationships and influences. Included are works by her private instructor, Ukrainian-Canadian portraitist Julian Butsmaniuk; her theatre design mentor, Greek luminary Peter Vakalo; California artists Nick Brigante, Peter Max, Morgan Russell, Sister Corita, and V olodymyr Ballas; and Mexican master printmaker Rufino Tamayo.The opening reception is free and open to the public.

L.A. Woman

The Ukrainian Institute of Modern Art (UIMA) is pleased to present It Will Destroy You, a powerful group exhibition curated by Isaiah Lee and Samiah Fulcher. The exhibition opens February 13, 2026, and will run through April 19, 2026, with an artist talk scheduled for Friday, March 6, 2026, from 6:00 PM to 9:00 PM.&nbsp;It Will Destroy You brings together works by 23 contemporary artists who interrogate the deconstruction of systems and structures that have long governed our lives. Through painting, sculpture, installation, and video, the exhibition reflects on themes of self-preservation and reconciliation as we navigate what the curators describe as a "crumbling socio-political landscape built on violence, greed, corruption, and brutality."If the average life cycle of an empire is 250 years, the American experiment is less than two years from its demise. This exhibition invites viewers to critically examine their understanding of the Western world and the foundational beliefs that support it.The exhibition features work by Michelle Alexander, Lauren Bertelson, Matias Brimmer, Robert Burnier, Alison Campbell, Zach Dobbins, Rea-Silvia Emmanouil, Sophia Farmer, Figwürm, Shanti Grandhi, Chloe Harthan, Sascha Huth, Melanie L. Johnson, Diada Amiri Jones, Rohen Jones, César López, Colin Martinez, Van Payne, Dylan Rabe, Austin Reilly, James Ross Servantz, Ethan Shay-Cowell, and Deb SokolowIn a climate of uncertainty and upheaval, It Will Destroy You challenges visitors to consider alternative visions of co-existence that possess the strength to outlive any empire. The works presented spark critical conversation about not only our current moment but the future we can create together.The journey of reconciliation with the self amidst worldly chaos is not merely an introspective one; it's a collective call to action. It is through bridging generations and uniting our collective vision that we can transform the conditions of the world.

It Will Destroy You

This special exhibition will be at Jackson Junge Gallery (1389 N. Milwaukee Ave.)View on Vertical Gallery's <a rel="noopener noreferrer" href="https://verticalgallery.com/blogs/news/vertical-gallery-s-all-star-13-year-anniversary-show" target="_blank">website</a>Vertical Gallery is very proud to present its 13-Year Anniversary Show, an all-star group exhibition commemorating 13 years at the vanguard of street art, pop surrealism, graffiti and beyond.&nbsp;Vertical’s 13-Year Anniversary Show, on view from March 13 through April 19, marks the gallery’s return to Chicago, where its story began. All work will be displayed inside Jackson Junge Gallery, located in the city’s bustling Wicker Park neighborhood.&nbsp;&nbsp;“This is our first show of 2026, and our first show back in Chicago since we changed our business model to online and special exhibitions,” says Vertical owner Patrick Hull. “I am excited to see everyone, and to celebrate our anniversary!”Vertical’s 13-Year Anniversary artist roster brings together 13 longtime collector favorites and emerging talents from across the city, across the nation and across the globe, showcasing the consistency and diversity that have remained hallmarks of the gallery’s monthly programming efforts since its inception. The 13 artists are (in alphabetical order):<ul><li>Andria Beighton</li><li>Blake Jones</li><li>Grant William Thye</li><li>Jerome Tiunayan</li><li>Laura Catherwood</li><li>Liz Flores</li><li>Martin Whatson</li><li>Mau Mau</li><li>Oak Oak</li><li>Pipsqueak was here!!!</li><li>Pollyanna</li><li>Scott Mills</li><li>Steve Seeley</li></ul>&nbsp;Each artist will display four original works sized at 12 x 12 in. (30 x 30 cm).&nbsp;Vertical’s 13-Year Anniversary Show kicks off Friday, March 13 with an opening reception at Jackson Junge Gallery (1389 N. Milwaukee Ave.) from 5:00 to 9:00 p.m. For additional information, or to sign up to receive our collector preview, email&nbsp;<a rel="noopener noreferrer" href="mailto:sales@verticalgallery.com" target="_blank">sales@verticalgallery.com</a>.&nbsp;&nbsp;Image: Martin Whatson “Parachute"

Vertical Gallery's 13-Year Anniversary Show

Chicago Artists Coalition is pleased to&nbsp;announce our partnership with Newcity, in which CAC will host a centerpiece exhibition of this year’s Newcity Breakout Artists.&nbsp;The exhibition will have an opening reception on Wednesday, April 8, 2026 from 5-9pm. This event is free and open to the public, hosted at our space on Hubbard Street. The exhibition will be on view until and have a closing reception on April 23, 2026. Established in 2004, Newcity’s annual Breakout Artists issue has become a leading indicator of future success in contemporary art. Of the 150+ Breakout Artists before this year, over 40 now have gallery representation, ranging from Hauser &amp; Wirth to numerous Chicago galleries; most of the others, including those who’ve chosen less commercial paths, show regularly at museums and institutions around the world. Exhibiting artists: Hai-Wen Lin, Mauricio López F. (Current CAC Resident), Isabelle Frances McGuire, Mariana Noreña G, Monika Plioplyte, Nick Raffel, TaitaixTina, Noelia Towers, Carina Yepez, and Sangwoo Yoo (Current CAC Resident).

Newcity Breakout Artists Exhibition

PATRON is pleased to announce Nyeema Morgan’s&nbsp;take my wife…PLEASE!, the artist’s second exhibition with the gallery following 2022’s&nbsp;The Set-up. Across a body of work including sculptures, drawings, and print media, Morgan apprehends narrative structures as scaffolding for systems of power.&nbsp;take my wife…PLEASE!&nbsp;unfolds through inquisitive framing devices, mechanisms, and studies. With reflections and deflections, subtle set-ups, and alterations of the gallery space, Morgan’s works catalyze the inherent vulnerability and tension in our relationship with images, words, objects and architecture.<a href="https://patrongallery.us10.list-manage.com/track/click?u=fe9966abed200e47655a01bab&amp;id=756a607d87&amp;e=9b06d8f0f3" rel="noopener noreferrer" target="_blank">NYEEMA MORGAN</a>&nbsp;(b. Philadelphia, PA) lives and works in Chicago, IL. Morgan earned an&nbsp;MFA from the California College of the Arts in San Francisco, CA, and a BFA from the Cooper Union School of&nbsp;Art in New York, NY and attended the Skowhegan School of Painting &amp; Sculpture, Madison, ME.Select solo and two-person presentations include:&nbsp;Mike Cloud &amp; Nyeema Morgan: Story Structure, Pt. 2,&nbsp;Neubar Collegium for Culture &amp; Society at University of Chicago, Chicago, IL (forthcoming);&nbsp;take my wife…PLEASE!,&nbsp;PATRON, Chicago, IL (forthcoming);&nbsp;The Set-Up&nbsp;(2022),&nbsp;PATRON, Chicago, IL;&nbsp;Soft Power. Hard Margins.&nbsp;(2022),&nbsp;Grant Wahlquist Gallery, Portland, ME;&nbsp;between friends&nbsp;(with Mary Simpson) (2022),&nbsp;David Peterson Gallery,&nbsp;Minneapolis, MN;&nbsp;Nyeema Morgan&nbsp;:&nbsp;Like it Is&nbsp;(2021),&nbsp;The Philadelphia Art Alliance at the University of the Arts, Philadelphia, PA;&nbsp;THE STEM. THE FLOWER. THE ROOT. THE SEED.&nbsp;(2020),&nbsp;Boulder Museum of Contemporary Art, Boulder, CO;&nbsp;Asian Smaisians and Other Abstract Racial Slurs&nbsp;(with Mike&nbsp;Cloud) (2019),&nbsp;Marlborough Gallery Viewing Room, New York, NY and&nbsp;horror horror&nbsp;(2018),&nbsp;Grant Wahlquist Gallery, Portland, ME.&nbsp;Select group exhibitions include:&nbsp;Errata&nbsp;(2024),&nbsp;PATRON, Chicago, IL;&nbsp;Objects and Power&nbsp;(2024),&nbsp;Institute of Contemporary Art,&nbsp;Maine College of Art and Design, Portland, ME;&nbsp;Us We Them | Race Ethnicity Identity&nbsp;(2022),&nbsp;Worcester Museum of&nbsp;Art, Worcester, MA;&nbsp;Second Sight: The Paradox of Vision in Contemporary Art&nbsp;(2019),&nbsp;Bowdoin College Museum of Art, Brunswick, ME;&nbsp;Signal from Noise&nbsp;(2015),&nbsp;Hessel Museum of Art, Annandale-on-Hudson, NY;&nbsp;&nbsp;The Intuitionists&nbsp;(2014),&nbsp;The Drawing Center, New York, NY; and&nbsp;Project Gutenberg&nbsp;(2012),&nbsp;Galerie Jean Roch Dard, Paris, France.Morgan is the recipient of the&nbsp;Foundation for Contemporary Arts Grant to Visual Artists&nbsp;(2026), Harpo Foundation Visual Artist Grant&nbsp;(2023),the&nbsp;Chicago Artadia Award&nbsp;(2023), a&nbsp;Joan Mitchell Painters &amp; Sculptors Grant&nbsp;(2022, 2016) and an&nbsp;Art Matters Grant&nbsp;(2013). Her work is included in the public collections of&nbsp;The Walker Art Center,&nbsp;Minneapolis, MN,&nbsp;Bowdoin College Museum of Art, Brunswick, ME;&nbsp;The Menil Collection, Houston, TX (in collaboration with William Cordova and Otabenga Jones &amp; Associates); and&nbsp;Worcester Museum of Art,&nbsp;Worcester, MA.

Nyeema Morgan: take my wife…PLEASE!

Curator: William Lieberman

The Given Distance

Corbett vs. Dempsey is pleased to present a selection of historical collage works by Robert Nickle. This is the gallery's second exhibition of Nickle's work.Widely exhibited in his lifetime, Robert Nickle (1919–1980) was one of Chicago's premier abstract artists, his approach remaining uncommonly consistent over the course of more than three decades. With a strong aesthetic connection to certain modernist precursors, especially Kurt Schwitters, and with direct ties to Chicago's New Bauhaus, Nickle constructed his collages painstakingly, over long periods of time, collecting flotsam and jetsam from the street – scraps of paper, discarded labels, weathered bits of carton or packing material – which he assembled into intimate patchworks. Working on a large table, on which dozens of collages were arranged prone, like dissection specimens, Nickle found the perfect pieces for each puzzle. Once finalized, these compact compositions were encased in a signature framing system, notoriously booby-trapped to make future reframing nearly impossible. Each work's verso features a special element – a small circular glazed portal beneath which sits a photograph of the artist on the day the work was consummated, with his signature and the year of completion. Since his death, Nickle's extraordinary contribution to the art of Chicago has rarely been the subject of monographic investigation. In this exhibition, CvsD presents collages from the 1960s and '70s, with two examples presented to display their highly unusual, charmingly personal reverse sides.﻿Image: Robert Nickle,&nbsp;Untitled,&nbsp;1966,&nbsp;collage,&nbsp;13 5/8 x 15 3/4 inches,&nbsp;22 3/4 x 24 5/8 x 1 1/4 inches, framed,&nbsp;signed and dated verso.

Robert Nickle: Collages 1966-1979

Corbett vs. Dempsey is pleased to present B. Ingrid Olson, All Lock No Key. This is the artist's first exhibition at the gallery. The ground is constantly shifting. A term may stir, awaken, move into another term's nest. Photography dives into sculpture which morphs into assemblage and is then sublated into installation. Givens are unglued. And reglued. Beds are unmade. And tidied. In B. Ingrid Olson's work, which integrates a staggering variety of ideas and materials, a body – some body – is configured as a runway, a site of arrivals and departures. Working with cast, carved, sculpted, found, painted, screen-printed, and photographed materials, Olson addresses an intimate yet broadly relatable set of open secrets and secretive openings. As concrete as these pliable substances are, so is Olson’s use of ambiguity, which she deploys as another working material. What is that thing I see? Is it an appendage? A wrapper? An egg? A mold? A slipper? A mushroom? Something covertly erotic or explicitly abject? In her most recent work, she has constructed objects that imply possible violence – ranging from surgery to disinterment, or even evisceration – objects that also destabilize one’s sense of position in space. Like Charles Olson's projective verse, which the poet (no known relation) declared "proprioceptive," B. Ingrid Olson describes her work as "promoting a self-consciousness of body and mind, of subjectivity and of having a specific vantage point while ‘looking.’ The viewer then becomes a visitor: embodied looking, an aware encounter.In All Lock No Key, Olson has constructed a large architectural installation based on The Vault, the gallery's video room, turning that usually secluded space inside-out. In the surrogate structure, Realia for punishment or distinction (is this a human problem? If so I'd like to keep it), 2026, the artist has everted the shelving and placed a sculptural composition into its illuminated interior. Lighting is critical to the exhibition, which subsumes the majority of the south gallery space, bathing it in a caramel glow. Only one corner of the room is brightly lit to present a dense cluster of wall-based works, as if they were creatures drawn to the bright light leak created by a slim vertical gap where the two walls might otherwise meet. Olson’s work has been the focus of solo exhibitions internationally, most recently at Midway Contemporary Art, Minneapolis; Kunstverein Braunschweig, Germany; Keijiban, Kanazawa, Japan; fluent, Santander, Spain; Carpenter Center for the Visual Arts, Cambridge, Massachusetts; and Secession, Vienna. She participated in the 2024 Whitney Biennial and New Photography 2018 at the Museum of Modern Art in New York.

B. Ingrid Olson: All Lock No Key

Keiichi Tanaami's&nbsp;Red Shade&nbsp;presents a whirlwind of animated childhood memories of World War II interspersed with images of Western pop. Produced when the artist was 85 years old, the film begins with Tanaami's paintings, which the artist&nbsp;animated into a dream world featuring 80 different scenes, each independently complete and freely arrangeable.Image: Still from&nbsp;Keiichi Tanaami,&nbsp;Red Shade,&nbsp;2012,&nbsp;digital video, 7 min.&nbsp;

Keiichi Tanaami: Red Shade

moniquemeloche is pleased to present&nbsp;<a href="https://t8j4tqkab.cc.rs6.net/tn.jsp?f=001WFlU7W4LTgFBZidKvGk-GMgbTatLhIXDTDXTK7jM8dY5sXLY5vpWufokFIa7-Z6v2vm297gYuvzgHTc8bGuPIqYu2PYKarZUIwHeonRf9aDMhVCUExLDMYQiYZboyIRyz2htSIRpgHIpfTxEtLmZnSrxr9EDh7fZL5qJE2UvkihBOI7HJ2KYRw7ZsrKrz2Z1QVkjlvVuZDTH0K3qJ9qYwHtwBTcLSUWPjfK0-1R_74B5XFf3Oo8Xv0sxr0jR-Cv3&amp;c=nGgkeIwsfe9UL_xZO-29WGl_5YmQl-Fb87vI_J3KXBCesriRu7ojjA==&amp;ch=SqAS8I_H4_Ti55iNuqtnnuQW4QQbfns99j50vPiFwtDgQRNrLubvFw==" rel="noopener noreferrer" target="_blank">ALL THERE IS</a>, an exhibition of new works by&nbsp;<a href="https://t8j4tqkab.cc.rs6.net/tn.jsp?f=001WFlU7W4LTgFBZidKvGk-GMgbTatLhIXDTDXTK7jM8dY5sXLY5vpWuWHJ4Y7pHsvo9-PqZCzuP8QYWuRQAzr81_5O_kp4ZZWxaSmJAQ0oU6eQcu7ZgPozb2UFmmyR4KoSC5kSX-Cr9pVVxkszVVuNsplBIVabSYNdjJp4hXyMufZ0vQBHBRLwMq889KE6gCfQC7mxeVjQOfAF8jOUlqOLxg==&amp;c=nGgkeIwsfe9UL_xZO-29WGl_5YmQl-Fb87vI_J3KXBCesriRu7ojjA==&amp;ch=SqAS8I_H4_Ti55iNuqtnnuQW4QQbfns99j50vPiFwtDgQRNrLubvFw==" rel="noopener noreferrer" target="_blank">Cheryl Pope</a>. Pope is an interdisciplinary visual artist whose intimate studio practice centers on textile “paintings.” Working with needle-punched wool roving on cashmere, Pope creates richly tactile works that translate the language of painting into fiber, using material, texture, and color to explore memory, relationships, and the poetics of everyday life. For the artist’s seventh solo exhibition at the gallery,&nbsp;ALL THERE IS&nbsp;debuts a new body of landscape works that explore the spiritual and emotional resonance of the land as a site of recollection, silence, and shared human experience.&nbsp;The artist began this series after a residency at the Contemporary African Museum in Marrakech, Morocco, where travels to the Atlas Mountains and desert terrain evoked an immediate sense of recognition and belonging. Upon returning home, Pope continued her journey to the Abiquiú region of New Mexico, a site that carries familial resonance for the artist, where summers were spent by her father and grandmother. Together, these experiences, while separated by geography, awakened a mystical stillness inside the body, initiating a broader connection to the universality of the landscape. While Pope’s earlier works centered the physical body as a site of identity, vulnerability, and care, from her early work with underrepresented youth, to deeply personal reflections on love and family, to her celebrations of the female body, these new landscapes suggest the body has not disappeared but expanded, shifting from the visibility of the figure toward a more esoteric understanding of how human experience is embedded within the landscape.Drawing from modernist painting, slow cinema, and contemplative poetry, the works approach landscape as a site where emotional, geological, and psychological states converge. Art historically, Pope draws from traditions that understand landscape not as scenery but as a living presence. Like Georgia O’Keefe, Pope’s landscapes strip away narrative figures to focus instead on the inner architecture of place. The compositional clarity of Pope’s landscapes also recalls Roger Brown’s distinctive visual language, particularly his use of stacked horizons, simplified forms, and rhythmic patterning. Materially and formally, the works embrace a process of attentive listening. Shapes derived from photographic studies are reworked through memory and intuition, becoming compositions that emphasize rhythm, vibration, and the relational nature of color and texture. Unfolding in undulating strata, layers of ochre, sand, umber, and clay mix with unexpected bands of lavender, pink, sage, and deep green, suggesting both environmental time and a thoughtful color sensibility. The artist describes the process as closer to composing music than painting: each mountain functions as an instrument, its tones and tactile surfaces forming part of a larger symphony of land, light, and archeological record. Here, Pope’s wool fibers act almost as sediment deposits, a buildup only achieved by slow labor – literal time embedded in material.&nbsp;The title,&nbsp;ALL THERE IS,&nbsp;refers to a personal family story; words that were carved by the artist’s grandmother inside the wedding band of her grandfather. These words are a small but profound gesture that holds both intimacy and universality, and a candid confrontation to the bare truth of it all: that beneath the layers of narrative, culture, and history, the land remains vast, silent, and enduring. Here, Pope translates the emotional concerns that have long defined her practice, from intimacy, vulnerability, caregiving, and connection into geological form, where layered terrains become metaphors for the ways love accumulates, transforms, and endures.<a href="https://t8j4tqkab.cc.rs6.net/tn.jsp?f=001WFlU7W4LTgFBZidKvGk-GMgbTatLhIXDTDXTK7jM8dY5sXLY5vpWufokFIa7-Z6v2vm297gYuvzgHTc8bGuPIqYu2PYKarZUIwHeonRf9aDMhVCUExLDMYQiYZboyIRyz2htSIRpgHIpfTxEtLmZnSrxr9EDh7fZL5qJE2UvkihBOI7HJ2KYRw7ZsrKrz2Z1QVkjlvVuZDTH0K3qJ9qYwHtwBTcLSUWPjfK0-1R_74BR07-C_gW1UH9XbDqtJtyg&amp;c=nGgkeIwsfe9UL_xZO-29WGl_5YmQl-Fb87vI_J3KXBCesriRu7ojjA==&amp;ch=SqAS8I_H4_Ti55iNuqtnnuQW4QQbfns99j50vPiFwtDgQRNrLubvFw==" rel="noopener noreferrer" target="_blank">Learn more</a> Cheryl Pope,&nbsp;TEACH ME HOW TO BE VULNERABLE&nbsp;(detail), 2026

Cheryl Pope: ALL THERE IS

Special Event on Mothers Day (May 10)Deb Koo&nbsp;is an oil painter based in Charlotte, North Carolina, whose work reflects a refined balance between cultural perspective and painterly experimentation. She began her formal art studies at Smith College and went on to earn her MFA in Western Painting from Ewha Womans University in Seoul. A member of the Goodyear Arts Collective and a professor of art at Rowan-Cabarrus Community College, Koo actively contributes to Charlotte’s creative community. Her work has been exhibited locally at Goodyear Arts, LaCa Projects, Sozo Gallery, and The Mint Museum Randolph, as well as nationally and internationally at Lorin Gallery in Los Angeles, Tchotchke Gallery in New York, and Delphian Gallery in London.

Material Offering by Deb Koo

Mason Pott, born and working in Chicago, is a fine artist whose practice centers on traditional oil painting with a contemporary sensibility. Known for his vivid explorations of florals and color theory, he approaches each work with a deeply considered, multidisciplinary process.&nbsp;Every painting begins with a carefully staged, high-quality photoshoot of a floral arrangement—an essential step in&nbsp;shaping the composition, lighting, and emotional tenor of the&nbsp;final piece. From there, Pott hand-cuts an aluminum panel to&nbsp;echo the contours of the bouquet, creating a sculptural support&nbsp;that blurs the line between painting and object.This integration of form and subject transforms the still-life&nbsp;tradition, inviting viewers to engage the work as both image and&nbsp;physical presence. Pott’s practice reflects his belief in the&nbsp;interconnectedness of craft, intuition, and design.&nbsp;His meticulous attention to color relationships animates the&nbsp;surface of each painting, resulting in works that feel simultaneously timeless and distinctly of the present.&nbsp;He received his BFA from the University of Illinois at Urbana-Champaign in 2015.Image: Color Field [Purple &amp; Crimson} with Kale &amp; Grapes,&nbsp;2025, Oil on custom cut aluminum panel, 26 x 38 in., 66 x 96.5 cm

Chromatic Fields by Mason Pott

Sale 6502 <a rel="noopener noreferrer" href="https://freemansauction.com/auctions/6502-early-20th-century-design?page=1&amp;per=48&amp;tab=overview" target="_blank">Early 20th Century Design</a> May 20, 2026&nbsp;10:00AM CT<h2> </h2>Live / Chicago

Early 20th Century Design

Sale 6503<a rel="noopener noreferrer" href="https://freemansauction.com/auctions/6503-modern-design?page=1&amp;per=48&amp;tab=overview" target="_blank">Modern Design</a> May 20, 2026&nbsp;11:00AM CT<h2> </h2>Live / Chicago

Modern Design

Heather Mekkelson: bass note

Mariane Ibrahim is proud to present its first solo exhibition with Youssef Nabil,&nbsp;No one Knows but the Sky.&nbsp; Cinema forms the stage upon which the photographic and video work of Youssef Nabil unfolds. Within it, the history of Egyptian cinema coexists with his childhood memories of Cairo, shaped by the film posters of a country that remains a major center of popular culture. Through its images, sounds, and stories, Egyptian cinema has shaped tastes, morals, and even language across the Arab world for decades. Through cinema, Nabil encountered art for the first time, and it remains the lens through which he has continued to observe and register the many transformations of his native land. The artworks presented in this exhibition—one of which gives the exhibition its title, and where the video&nbsp;The Room&nbsp;is shown for the first time—offer a glimpse into the last twenty years of the artist’s practice, where his stylized films move alongside hand-colored images. In these pieces, Nabil applies a meticulous process of painting directly onto the print, transforming each work into a unique object, in the tradition of the Egyptian film posters of his youth. <a href="http://link.marianeibrahim.com/ls/click?upn=u001.QEhnWBve3x4w-2FznpuSOKkHDHeH9lWxp-2BpojXmbdTFEfNIzMO4Fk0hZGVAcuFTnrwuZu5hmOl-2F6D5nZnF86DF23mK0QDSMs06h62FVId6b8EeBA7gPki6Ji8EdgMRK5OAW-2F3sLMS2dDG6EXp646BAWQ-3D-3DlcsV_0g5QiKQ3ANfCkWXxwzczn1phIok0-2FnBF8GNWXrNhq2-2B4ftGj9DI8Jn4AfRAGeAJVikNEQwxpwEcoOyKbtwuEcOmpV8pZqW9wDkAW98XvXyxFYzbJ4WJEwgS9NSON6MGnCTfJn1AkphRC0R-2FMWpGqOzHnre5xAAnJH0jckxlKiDrzDDB3ft4yXB-2FVIkaItTRuXQ3hju5kyBUW7PMdjkTAgnIQNV3P4O8dFGQ6ATHGnagwAAHuX-2FfZC5QkUT4B0uvuhpa4SC9C81tqNybS1ONfOa17CE42rNNIrUHGi2sfSS-2FFaPjilPEmhUOm6cTxA0BS8lCNIDewVQcr4Jp4CMFh50SF4qaVFpcYFVmre8r5psua2s0dLuDCbAuyL5I5yDiQwdgLSHmoS-2BZCPbt1HOyKCf46Ad4bf2BhPEQ42l1j4xxc0olHXXmTW-2BPDCkLCy1FeWQN2QjhiWSY-2BhnWIEYO-2F21URteTqxj8s0o2nKiHkBoVpNGXD-2FTMmXPcTnRPoWw5yjaypUblX9rBLyNl9X-2FOgoNc9b-2BRvc0A4NqS00FfW4kgkVj9FSXt-2BOEI-2FpxXPYDDmvyfJeO3Fb3p4TKL0tVIDlWjUQCJm5tJWM9yoHfjVoaACgOIJQfCOxSm1f-2F0YSxnV3DEHy-2F40jUgGH0XrfvEZOo2dU6i2dy1XRSdXBxkVc3g9y-2FpGdD6mgFTYrFkJ42Re8IpnJ06TfxH6YlYEmsv0a0DTl0bQKEcW3oxzKvWMPtweY0sHYJHmbjAxmBFzy5ZtEIjNnlu-2BATUuPUlkPWg3QfuUTIh9AGsnaxPjQgYbpSuQtOwHFNPOXN9A5T35bocaAPv9Cg5XX2VlF-2BQWbCGSJoeY0tWc20da-2BL8TSp09Td0-3D" rel="noopener noreferrer" style="background-color: rgb(221, 221, 221); color: rgb(0, 0, 0);" target="_blank">MORE INFORMATION</a> Image: Youssef Nabil,&nbsp;Self-portrait with Roots, Los Angeles, 2008. Courtesy of the artist and Mariane Ibrahim.

Youssef Nabil: No One Knows But the Sky

Opening Reception: Sat., April 11, 6-9 pm We will also have a reception on April 8 from 6-9pm. Tony Fitzpatrick was the beloved, brash, and bold artist, actor, and poet who died too soon at the age of 66 on October 11, 2025. He was a prolific collage artist and printmaker who loved the city of Chicago as well as birds, dogs, and regular folks. For years he has supported other artists and lifted them up. Before he died, we were working with him on this very special collage show. Tony selected most of the artists in this show because he said, “they are among the best.” This exhibit includes works by Lisa Barcy, Lou Beach, Monica J. Brown, Andrea Burgay, Tony Fitzpatrick, Glen Gauthier, Paul Loughney, Jack Poker, Nellie Seigel, and Paloma Trecka. Along with Tony’s work, there are several pieces in the show that were made in tribute to Tony. Many of the artists worked with or were mentored by him. The work in this exhibition showcases the myriad styles and subjects of contemporary collage revealing the dynamism of this art form. This exhibition explores personal memories, social commentary, and a diversity of materials. SoNa Chicago is proud to be a part of extending Tony’s legacy by showcasing contemporary collage artists and honoring him through this exhibition.

Pieces Too Short to Save: A Survey of Contemporary Collage

Terumi Saito’s first solo exhibition with the gallery opens April 10, 2026, from 5 to 8 p.m. Saito combines backstrap weavings toned in natural dyes with handbuilt ceramics to create highly original forms. Drawn to the intimate connection between body, time, and material that backstrap weaving requires, Saito has made it the foundation of her practice—one of the earliest weaving technologies, it has been practiced across Asia and the Americas for millennia. She sees weaving as a living language, evolving, yet deeply connected to its origins, and a form of reflection, each work a record of time and energy spent.&nbsp;

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