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

Irish artist Elaine Byrne and Aliza Shvarts, Director of SAIC's Low-Residency MFA and Assistant Professor, Performance will discuss how borders political, social, and psycho- logical- define, divide, and drift, shaping the sense of belonging and exclusion. Drawing on Byrne's Drifting Sovereignty and her research into borders and the essay film, the conversa- tion explores how art can make visible the fluidity of environmental and geopolitical change.

In Conversation: Boundaries/Borders a discussion with Elaine Byrne & Aliza Shvarts

<a rel="noopener noreferrer" href="https://northwestern.us9.list-manage.com/track/click?u=904f932038284b4d9eea69636&amp;id=4c60f6170c&amp;e=ec81127d70" target="_blank">RSVP</a> Join&nbsp;Dyani White Hawk and Caroline Kent for a conversation on abstraction, feminism, and their overlapping artistic interests.In her multidisciplinary practice,&nbsp;Dyani White Hawk&nbsp;(Sičáŋǧu Lakota) brings together Lakota artistic traditions with Minimalist, and Color Field artistic influences. Working across painting, sculpture, and print, Dyani White Hawk emphasizes how color, shape, pattern, and material can carry meaning. Her recent series&nbsp;They Gifted (Night)&nbsp;and&nbsp;They Gifted (Day),&nbsp;is on view in&nbsp;<a rel="noopener noreferrer" href="https://northwestern.us9.list-manage.com/track/click?u=904f932038284b4d9eea69636&amp;id=d2eb88c636&amp;e=ec81127d70" target="_blank">The Living Room at The Block</a>&nbsp;from November 12 to December 14, 2025.&nbsp;Caroline Kent&nbsp;(Northwestern University, Art, Theory, and Practice) uses abstraction to explore the possibilities and limits of language. Her richly layered compositions speculate on communication and miscommunication, drawing attention to how meaning can shift across context and culture.Together, White Hawk and Kent will discuss their artistic influences, conceptual frameworks, and the evolving role of abstraction as a space for cultural reflection, resistance, and reimagination.&nbsp;The evening will be introduced by&nbsp;Megan Baker,&nbsp;Assistant Professor of Anthropology. Dyani White Hawk&nbsp;(Sičáŋǧu Lakota) is a multidisciplinary artist based in Minneapolis. White Hawk was featured in the 2022 Whitney Biennial and the recent solo exhibition Speaking to Relatives at the Museum of Contemporary Art Denver and Kemper Museum of Contemporary Art. She has received awards from the Guggenheim Foundation, the MacArthur Foundation, Creative Capital, Anonymous Was a Woman, Joan Mitchell Foundation and McKnight Foundation. Her work can be found within collections such as the Guggenheim, Brooklyn Museum, Hirshhorn Museum, Minneapolis Institute of Art, MoMA, NY, Walker Art Center, and the Whitney Museum of American Art. Caroline Kent is a Chicago-based visual artist. Kent speculates in both the potential and the limitations of language, and ultimately questions the modernist canon of abstraction. She earned an MFA at the University of Minnesota. She has exhibited widely at sites including the Walker Art Center, The Flag Art Foundation, the DePaul Art Museum, the California African American Museum, and Museum of Contemporary Art Chicago. Kent is a 2025 USA Fellow and received the 2025 Aspen Arts Prize for innovation in abstraction.&nbsp;She has received grants from The Pollock Krasner Foundation, The McKnight Foundation, and The Jerome Foundation.&nbsp;Kent is Assistant Professor of Art, Theory and Practice, at Northwestern University.

Artist Talk: Dyani White Hawk and Caroline Kent in Conversation

Join us on October 16, from 6-8 pm, for the opening reception of this amazing new show. Meet some of the artists and hear who won the awards.&nbsp;Doors open at 6.00 pm, the artists' talks and awards begin at 6.30 pm.&nbsp;

Animalia

In conjunction with artist Temitayo Ogunbiyi’s exhibition, indigenous scholar and practitioner Stephanie Morningstar speaks on themes related to her work and to Ogunbiyi’s. A storyteller connecting people, plants, and the land, Stephanie bridges Indigenous and Western paradigms, helping communities reclaim relationships with the natural world and each other.Free and Open to the Public.&nbsp;Photo:&nbsp;You will feel out of many one people, 2019. Varnished Japanese ink and acrylic on found fabric. 54 x 36 in (137.1 x 91.4 cm).

Stephanie Morningstar on Indigenous Plant Knowledge

<a rel="noopener noreferrer" href="https://perspectivegallery.us3.list-manage.com/track/click?u=04a588cae42ffc5c2d944d823&amp;id=5f075450b2&amp;e=49b9939ea4" target="_blank">Register here</a>This November, Perspective Gallery presents&nbsp;In Their Gardens of Good and Evil, a two-person exhibition contrasting two visions of nature shaped by personal tradition and belief.In The 7th Year,&nbsp;artist&nbsp;Susan Isaacson&nbsp;reflects on the Jewish custom of letting the land rest every seventh year. Her work explores themes of renewal, connection, and oneness with the natural world, offering comfort while confronting life’s fragility and transience.In contrast, artist&nbsp;Katsy Johnson&nbsp;unveils&nbsp;Evil Flowers, a modern floral representation of the Seven Deadly Sins. Drawing on classical still-life traditions, Johnson transforms lush bouquets into dark meditations on human vice, weaving in unsettling modern intrusions such as cell phones, doll artifacts, and even live animals.Together, these works invite viewers into a “garden” that is both sanctuary and snare—where renewal and temptation bloom side by side.

Virtual Artists’ Talk: Susan Isaacson and Katsy Johnson

Oct. 11 – Nov. 21 CSI Project Space: Group Exhibit - Curator Chris Wubbena ﻿Oct Sculpture in the Parks: New Installations Photo credit: Chris Wubbena

CSI Project Space: Group Exhibit

Our fall show,&nbsp;A New Season: A Small Group Show featuring Jennifer JL Jones and Karl Pilato,&nbsp;opens on Thursday, September 18th with a reception in the gallery from 5-7 pm. We hope you'll join us for an evening of arresting art, engaging conversation and light refreshments!A New Season&nbsp;will be on view through November 22nd.

A New Season: A Small Group Show featuring Jennifer JL Jones and Karl Pilato

Slemmons Gallery September 19, 2025 - November 22, 2025 Imperfect Players&nbsp;is a collection of ceramic vessels that can be performed as musical instruments and accompanied by drawings. I worked at an auction house creating condition reports for fine and decorative art. These objects were valuable for their aesthetic, craft, and cultural histories. I often studied ceramic vases closely and under a black light to find the imperfections: cracks, chips, and many networks of hidden repair. They had their own material stories in the flaws of their production and accumulation of wear. These imperfections degraded their value, but also served as evidence of their authenticity.&nbsp; I am a similar vessel. My human body has sustained physical and psychological changes and damage, and I hold that with me as I function day to day. Especially after giving birth to my child, I was very aware of dramatic shifts to my mind and body, and I struggled to perform as I once did. Imperfect Players is a response to that corporal rift. These forms are adorned with their own broken and fused pieces, just as I hold onto memories and my material body holds scars and strain of the past. Although broken, these vessels are also instruments that can be played to make musical sounds. Imperfect Players&nbsp;celebrates imperfect and broken vessels that disrupt the idealized form, and still function as instruments in the world.RSVP for the opening reception on Friday, September 19th from 6 p.m. to 9 p.m. at the link below: <a rel="noopener noreferrer" href="https://epiphanychi.com/events/the-opening-reception-of-liz-mccarthys-exhibit-imperfect-players/" target="_blank">Register Here</a>

Liz McCarthy: Imperfect Players

Guild Room September 19, 2025 - November 22, 2025 This series of paintings and drawings explores the enduring spirit of Pierrot—the iconic French character who embodies poetic vulnerability, theatrical grace, and quiet melancholy. L'esprit de Pierrot&nbsp;(The Spirit of Pierrot) is not a character study—it is an atmosphere. The works evoke fragility, introspection, and the unspoken drama of being. Each piece exists in a suspended moment between stillness and performance, between reality and reverie. Through subtle gesture and deliberate restraint, the artwork creates an emotional atmosphere that transcends literal representation. The compositions become mirrors, inviting viewers to project their own inner theater onto each image.With this exhibition, WERIEM invites viewers to pause within these contemplative spaces, to feel the weight of unspoken emotion, and to recognize the delicate ways in which beauty, loss, and imagination intertwine in our daily performance of being human. RSVP for the opening reception on Friday, September 19th from 6 p.m. to 9 p.m. at the link below: <a rel="noopener noreferrer" href="https://epiphanychi.com/events/the-opening-reception-of-weriems-lesprit-de-pierrot/" target="_blank">Register Here</a>

WERIEM: L’esprit de Pierrot

65GRAND presents SCOTT STACKOctober 24 - November 22, 2025 Opening Reception: Friday, October 24 (6 - 9PM) 65GRAND is located at 3252 W. North Ave Image: Scott Stack, G in Portugal, 2020, oil on canvas, 72 x 96 inches&nbsp;

Scott Stack

Sacristy GallerySeptember 19, 2025 - November 22, 2025 My 1.5-year-old son says only a handful of words- wow, momma, daddy, ball, truck, fraise, ciao. The week I committed to this exhibition at Epiphany, he added a new word: birthday.Birthday is about how scary it is to begin. The first scream, first smile, first word, first step, first fall. The moment my son was born, I was certain I was dying. In the days and months that followed it still wasn’t clear as we existed in a new web of pain, euphoria, and wonder. It helps to have something to hug, something to hold you up, somewhere to rest. A birthday is a celebration, a renewal, but also a reckoning. Sometimes counting up feels like counting down, and the beginning is also an ending. The work in this show is holding on and letting go. The subject matter appears familiar, a stuffed animal, a lifejacket, paintings of pillowcases. Materials in the show include silk, human hair, and hair salon foils. Having grown up in a hair salon, these objects and images anchor me to my own childhood, my own history of birthdays, and the experience of the passing of time. The week Birthday opens, my son will turn 2. RSVP for the opening reception on Friday, September 19th from 6 p.m. to 9 p.m. at the link below: <a rel="noopener noreferrer" href="https://epiphanychi.com/the-opening-reception-of-margaret-crowleys-exhibit-birthday/" target="_blank">Register Here</a> About Margaret CrowleyMargaret Crowley&nbsp;(b. 1987, Ottawa, Illinois) is a Chicago-based artist. Recent solo shows include Hazard at University Galleries at Illinois State University, and Comb at Devening Projects in Chicago. Her work has been exhibited at Ditch Projects in Springfield, Oregon; Reva and David Logan Center for the Arts, University of Chicago; Chicago; Hyde Park Art Center, Chicago; Chicago Artists Coalition; Cue Foundation, New York City; and Área: Lugar de Proyectos, Caguas, Puerto Rico. Crowley has received the Jarislowsky Foundation’s Emerging Artist Award, which included a residency at the Banff Centre for Arts and Creativity in Banff, Canada. She has also been awarded multiple individual artist grants from the Illinois Arts Council and a residency at Ox-Bow School of Art and Artists. NewCity Chicago named her one of Chicago’s 10 Breakout Artists of 2023. Crowley is the co-director of Produce Model Gallery, Chicago. She received her M.F.A. from the University of Chicago, M.A. from Eastern Illinois University, and B.S. from Illinois State University.

Margaret Crowley: Birthday

At RAM’s Wustum Museum Contemporary art jewelry often investigates cultural, social, personal, and environmental topics. Distinguished by a vocabulary of diverse media from precious metals to recycled objects, it also reflects artists’ interests in material exploration and notions of wearability. RAM’s holdings in art jewelry—with examples from artists from across the globe at varying stages in their careers—have grown rapidly. Artistic self-consciousness often drives those who make work considered “art jewelry,” though this is just part of a much larger conversation. Makers explore a wide variety of issues, materials, and themes, while utilizing media—both precious and non-precious—that encourage the exploration of jewelry and its history. In this selection of seven artists of color from RAM’s collection, the emphasis is on materials not traditionally anticipated for use in jewelry, such as polymer, safety pins, and silicone. While there are theoretically no limitations to the materials any artist can use, there have historically been barriers to some artists of color in the United States—indirect or otherwise—to access tools, materials, or studio spaces. At this moment, more and more efforts are being made to support and encourage the work of artists of color while drawing attention to existing work.Following the&nbsp;<a style="color: var(--link_color);" rel="noopener noreferrer" href="https://www.ramart.org/exhibit/nicole-acosta-hoops/" target="_blank">solo exhibition of Nicole Acosta</a>, which featured photographs of people of the global majority wearing hoop earrings, this exhibition emphasizes an idea that RAM often explores: how adornment can go beyond decoration to become a symbolic and layered space for meaning. While some of the work in this exhibition has been shown in the galleries at RAM, all of these pieces are making their debut at Wustum. Image: Lorena AnguloMilagro Heart Tree of Life, 2022Bronze, coral and turquoise beads, brass wire, and stainless steel wire4 7/8 x 3 7/8 x 3/4 inchesRacine Art Museum, Windgate Foundation Contemporary Craft Acquisition GrantPhotography: Jon Bolton

RAM Showcase: Focus on Adornment

I collect clothes from resale shops. The coat was too expensive and designed for Paris weather.&nbsp;I visited “my” coat several times. Kimono cut, loose woven wool, perfect fit. Hard to leave it behind… So, I drew it. Another form of ownership.I tailored the coat to my wish with colors, prints, words, more prints. I customized each piece of clothing in the show, to be my own and all about me. With time, as I worked on the many designs and screens, I discovered that they didn’t happen by chance. Many unexpected memories found their way between layers.Anne attended the École Supérieure d'Arts Graphiques Penninghen in Paris. She received her Master’s Degree in Art History from the Sorbonne and her PhD from Northwestern University.&nbsp;She works at her home and in local studios.&nbsp;Anne draws inspiration from her encounters with people, books, objects, landscapes, events, and passing thoughts.I treasure overlooked details. They carry big worlds and make them almost manageable.They show loss through the beauty of what is left and joyful. The immeasurable abundance of life, and my ignorance of most things in it, alarms and dazzles me; with infinite layers, lines, and colors.&nbsp;Printmaking has allowed me to create a library of designs that can transfer across a variety of media. In my case, ceramics and textile. Designs can be mixed, reused and altered. They are friends, markers and narratives in time. The designs transfer between media seamlessly.&nbsp;For me, printmaking is fast and exuberant, or slow and contained just as writing is. I see no difference.&nbsp;These art forms&nbsp;share paper and ink. They delight me with the slight but indelible transformation created when ink presses on the white surface of the paper.&nbsp;Throughout my cheerful, blind walk across artwork, printmaking gives me an illusion of perennity.

Anne Bernard-Pattis: My Extravagant Wardrobe

Diego Marcon, an artist known for his radical rethinking of cinema, sound, and space, makes his U.S. debut at the Renaissance Society this September. Marcon’s practice is rooted in entertainment and structural cinema—eschewing traditional storytelling to explore the mechanics of filmmaking itself. His works challenge the hierarchy between subject and image, dissolving narrative into abstraction. For this exhibition, Marcon presents&nbsp;Krapfen, a newly commissioned musical dance film that stages an encounter between the kid, performed by dancer Violet Savage, and four characters represented by costume props: gloves, foulard, trousers, and pullover.&nbsp;Krapfen&nbsp;is also an encounter between the golden age of American animation and Italian opera. The choreography—a mix of contemporary dance, classical ballet, and popular entertainment forms—reflects the juxtaposition of traditional and digital filmmaking processes, a hallmark of Marcon’s practice. Curated by Myriam Ben Salah. Lead support for this exhibition at the Renaissance Society is provided by the Robert and Penelope Steiner Family Foundation. Diego Marcon’s&nbsp;Krapfen&nbsp;is co-commissioned and made possible by Fondazione Sandretto Re Rebaudengo, Lafayette Anticipations, New Museum, the Renaissance Society, and The Vega Foundation with additional support from Sadie Coles HQ, London, and Galerie Buchholz, Berlin/Cologne/New York. <a rel="noopener noreferrer" href="https://renaissancesociety.us11.list-manage.com/track/click?u=28258b64874e626df0979c0de&amp;id=a0683e9dae&amp;e=375d06b725" target="_blank">Learn more</a>THIS PROGRAM WILL HAVE REALTIME CAPTIONING. Image: Diego Marcon,&nbsp;Krapfen (Gloves), 2025 © Diego Marcon. Courtesy Diego Marcon. Produced by Fondazione Sandretto Re Rebaudengo, Lafayette Anticipations, New Museum, the Renaissance Society, The Vega Foundation. Photo: Brigida Brancale.

Diego Marcon: Krapfen

Devin Ingram, a Chicago-area artist, husband, and father, creates artwork reflecting his life experiences encompassing tragedy, love, pain, and joy. His diverse artistic approach, utilizing acrylics, oils, ink, pastels, and pencils, demonstrates his commitment to employing readily available materials to convey his artistic vision. Dev intends to convey his concepts visually, creating a presentation that is not only seen but is also felt.&nbsp;Reception and Gallery Talk: November 13, 7-9pm

Devin Ingram

The only auction house to offer a category exclusively dedicated to Scandinavian Design, Wright celebrates the exceptional craftsmanship and humanist designs of the region with designated auctions twice each year. It is our pleasure to continue this tradition that has been the mainstay of modern interiors for more than a century, and we proudly present works by Alvar Aalto, Finn Juhl, Mogens Koch, Hans J. Wegner, Barbro Nilsson, Axel Salto, and many more. Interested in selling Scandinavian Design at auction? Our specialists will be glad to provide a complimentary evaluation.

Scandinavian Design

Not Everything We’ve Inherited is Worthy examines the complexities of parent-child relationships, with a focus on motherhood. Drawing inspiration from the enduring expectations placed on children, often regardless of their own feelings, the pieces confront the realities of failed motherhood and abuse that leave lasting emotional wounds. By incorporating deliberate motifs such as pantyhose, cowry shells, and hair, the work juxtaposes traditional sculptural materials with objects that symbolize femininity, reflecting the artist’s contextualization of motherhood. These materials and forms explore the intertwined dynamics of love, manipulation, and envy. Revealing the emotional layers that shape these relationships. Conceptual installations are grounded in a nude color palette, emphasizing the body and the physicality of parent-child connections. Through this lens, the work provokes reflection on power dynamics, the struggle for self-assertion, and the enduring impact of emotional harm within intimate familial relationships.

Hannah Fitzgerald: Not Everything We’ve Inherited is Worthy 

This series is a response to the subtle erasure of the natural world from our shared language. The removal of words like "acorn,” "dandelion," and “raven" from children's dictionaries is more than a linguistic update; it is a symptom of a growing disconnect from the environment. These once-common words, replaced by tech words like "broadband" and "bullet-point", represent a wealth of lived experience and ecological knowledge that is being forgotten. Language has the power to both define and connect us to our surroundings. This series urges us to pause, look, and remember the words that anchor us to the living world. The work aims to reclaim and celebrate these words and to encourage a deeper appreciation for the environment and a more mindful engagement with the world around us.

Lee Stanton: Lost Words

Gallery VICTOR is proud to present&nbsp;Finding Center, a new solo exhibition by painter&nbsp;Zack Zdrale, In this deeply personal series, Zdrale confronts the complexities of loss, resistance, and release with raw emotional clarity and commanding technique.

Zack Zdrale: Finding Center

“Frankly, I make clothes for women to look sweet. I like sweet women. I see women’s role in life in the light of sweetness. Men should be the hunters. Women are the keepers of the hunters: it’s a straightforward, set philosophy of mine.” - Laura Ashley “Disruptive camouflage” is a type of camouflage that uses patterns and color to hinder detection or recognition of an object's boundaries and/or other conspicuous features of its body. It involves the manipulation of the perceptual processing of its viewers. Laura Ashley was a Welsh designer known for her romantic floral prints and feminine designs with a bucolic feel. Like modern tradwife influencers, she promoted the idea of women as submissive wives and mothers to contradictorily become a breadwinner. Hunting camouflage is meant to render a person invisible while hunting, but wearing it has become a fashion statement in rural areas to show off one’s masculinity and dominance over nature. Sophia Brueckner designs new camo patterns that integrate Laura Ashley florals with Realtree hunting camo and use them to make gender stereotyped artifacts and clothing to subvert false binaries about gender, class, domesticity, and nature.

Sophia Brueckner: Hearts and Flowers: Hunting for Love

The Consul General of Ireland, Brian Cahalane, will open the exhibition at 6:00 P.M. followed by a gallery walk with the artist.We are most grateful of Culture Ireland, who supported this event.John David Mooney Foundation is pleased to present&nbsp;Drifting Sovereignty, a solo exhibition by Elaine Byrne, represented by Kevin Kavanagh Galleries, from 5th - 29th November 2025. This show, supported by Culture Ireland, will be opened by Consul General Brian Cahalane.​​Drifting Sovereignty&nbsp;is a multidisciplinary exhibition that critically engages with the shifting nature of borders and the performance of power at geopolitical and environmental margins. Through photography, sculpture, video, and performance, the exhibition interrogates how sovereignty is both asserted and destabilized in contested spaces.​Contemporary borders are often represented as fixed lines on maps, yet such depictions obscure their social, political, and material complexity. Byrne's work shifts focus from the border as line to the borderscape--a dynamic, contested space shaped by governance, infrastructure, and lived experience. In doing so, the exhibition emphasizes the constructed and mutable nature of borders, which appear, dissolve, fracture, and overlap in response to both human and environmental forces.The works traverse multiple geographies. In the California desert. Byrne photographs prototypes of the U.S.-Mexico border wall--monumental forms that embody both the spectacle and futility of territorial enforcement. In the Canadian High Arctic, she documents landscapes marked by forced Indigenous relocation, revealing how political decisions have reconfigured lives and land. In Svalbard, where Russian-owned land exists within NATO territory, she explores competing territorial claims in the context of climate change and resource extraction.A central performance video shows Byrne walking across Arctic Sea ice--a minimal gesture that functions as a meditation on human presence within a rapidly changing landscape. This act underscores how environmental instability redraws boundaries once presumed stable.Byrne's sustained engagement with borders positions them not solely as barriers, but as active agents in the production of identity, belonging, and exclusion.&nbsp;Drifting Sovereignty&nbsp;offers a critical reflection on the entanglement of geopolitical power, mobility, and environmental change, prompting urgent questions about the future of territory and the limits of control in an increasingly unstable world.​

Elaine Byrne: Drifting Sovereignty

The main focus of the Food For Thought Exhibition is to heighten awareness of food insecurity.&nbsp;At least half of all proceeds will go directly to the C and W Foundation, an Evanston-based nonprofit that provides essential access to groceries.&nbsp;The still life genre illustrates portraits of edible subjects that tell stories of meals shared, community, and breaking bread together. This communal ritual is&nbsp;celebrated in paintings of food made from direct observation, which reveal tangible, poetic symphonies of color, shape and texture.&nbsp;&nbsp;Artists: Sheila Cahnman, John Fleck, Ken Minami, Sarah Kaiser-Amaral, David Roberts and Chunbo Zhang.&nbsp;

Food For Thought Exhibition 

Join us to celebrate the healing power of nature and the arts.&nbsp;At Ease in Nature&nbsp;features artwork created during our 2025&nbsp;<a rel="noopener noreferrer" href="https://brushwoodcenter.org/initiatives/at-ease/" target="_blank">At Ease</a>&nbsp;programs, as well as work inspired by experiences in nature from members of the Military Community.Started in 2015, Brushwood’s&nbsp;At Ease: Art and Wellness for Veterans&nbsp;initiative offers programs for Veterans, Service Members, and their families designed to empower wellbeing through nature-based art, music, and photography workshops.&nbsp;At Ease&nbsp;helps build skills in creative expression and provides Veterans with access to mental health support.<a rel="noopener noreferrer" href="https://secure.qgiv.com/for/artexhibitionsandmarkets/event/ateaseinnature2025/" target="_blank">REGISTER</a> | This exhibition will open with a reception and panel discussion on November 9, at 1 pm.&nbsp;

At Ease In Nature

This November, Perspective Gallery presents&nbsp;In Their Gardens of Good and Evil, a two-person exhibition contrasting two visions of nature shaped by personal tradition and belief.Artist&nbsp;Katsy Johnson&nbsp;unveils&nbsp;Evil Flowers, a modern floral representation of the Seven Deadly Sins. Drawing on classical still-life traditions, Johnson transforms lush bouquets into dark meditations on human vice, weaving in unsettling modern intrusions such as cell phones, doll artifacts, and even live animals.

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