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

Antonius-Tín&nbsp;Bui&nbsp;(they/them) is a multidisciplinary artist whose work traverses the realms of hand-cut paper, community engagement, performance, and soft sculpture to visualize hybrid identities or histories that confront the unsettling present. Bui’s hybridized identity as a queer, genderfluid, and Vietnamese American informs the way they employ beauty as a refuge for fellow marginalized communities. Their intensive paper-cutting process is exceptionally meditative; each sheet of paper&nbsp;represents&nbsp;an archive of memories and oral histories, mirroring the intergenerational trauma that so many refugee communities are faced with. Through their rigorous and reductive process, they deconstruct the white canvas, metaphorically carving out space for the narratives that are so often omitted from recognized histories.&nbsp; Bui (b.1992, Bronx, NY) received their BFA from Maryland Institute College of Art, Baltimore, MD. Bui has had recent solo exhibitions at&nbsp;Various Small Fires, Dallas, TX (2024);&nbsp;moniquemeloche,&nbsp;Chicago, IL (2023);&nbsp;Hudson D. Walker Gallery, Provincetown, MA (2020);&nbsp;Laband&nbsp;Art Gallery, LMU, Los Angeles, CA (2019); Lawndale Art Center, Houston, TX (2018).&nbsp;Bui’s work has been presented in group exhibitions at&nbsp;the&nbsp;National Portrait Gallery, Washington D.C.;&nbsp;Portland State University, OR; The Frances Young Tang Teaching Museum and Art Gallery, Saratoga Springs, NY; Weatherspoon Art Museum, Greensboro, NC; Orange County Center for Contemporary Art, Sacramento, CA; Picker Art Gallery,&nbsp;Colgate University,&nbsp;Hamilton, NY;&nbsp;the&nbsp;McNay Art Museum, San Antonio, TX; Elizabeth Foundation for the Arts, New York, NY; USC Pacific Asia Museum, Pasadena, CA; Houston Center for Contemporary Craft, Houston, TX; Blaffer Contemporary Arts Museum, Houston, TX; among others. Bui will present a solo exhibition at&nbsp;moniquemeloche&nbsp;in 2026.&nbsp; Public collections include the&nbsp;Mint Museum, Charlotte, NC;&nbsp;University of Michigan Museum of Art, Ann Arbor, MI; New York Historical Society, New York, NY;&nbsp;BMO Harris Bank Corporate Art Collection, Chicago, IL; Bank of America Art Program, Newark, DE; JP Morgan Chase Art Collection, New York, NY;&nbsp;Jordan Schnitzer Family Foundation, Portland, OR; Eaton Workshop, Washington D.C.; Arkansas Museum of Fine Arts, Little Rock, AR; Wesley Theological Seminary, Washington D.C.; and the Pennsylvania College of Art &amp; Design, Lancaster, PA.&nbsp;They are a recipient of The&nbsp;Outwin&nbsp;Boochever&nbsp;Prize (2021) and MICA Alumni Grant (2018). Bui is a fellow of the 2022&nbsp;Queer|Art|Mentorship&nbsp;program, and has received additional fellowships from MASS MoCA&nbsp;(2025);&nbsp;Golden Foundation, New Berlin, NY (2024);&nbsp;James Castle House, Boise, ID (2022); Kimmel Nelson Center for the Arts, Nebraska City, NE (2022); Fine Arts Work Center, Provincetown, MA (2019); Yaddo, Saratoga Springs, NY (2024,&nbsp;2019); The Growlery, San Francisco, CA (2019); and Houston Center for Contemporary Craft, Houston, TX (2018). Bui lives and works in&nbsp;Chicago, IL.&nbsp;&nbsp;

Antonius-Tín Bui: here, there is a different kind of sun

We thank you for your business as we begin our 37th year in Chicago! This will be a progressive sale extending over three weeks. Each week the discount will grow. Some conditions apply; there are no holds or approvals. All sales are final.No returns, refunds, or exchanges. You can shop online or visit us in the store! February 19–26: 25% offFebruary 27–March 5: 30% offMarch 6–14: 35% off

Customer Appreciation Sale

While some institutions limit collection holdings to one or two pieces per artist, RAM is often interested in representing a career through multiple examples. Those whose works are collected in depth are referred to as “archive artists.” While the number of pieces needed to achieve this status is medium-specific, these holdings might also include things like personal records, sketchbooks, or studies made in preparation for a larger work.From The Archives&nbsp;showcases eight Wisconsin-based artists with recently established archives at RAM—Jerrold Belland, Lisa Englander, Caren Heft, Alex Mandli, Michael Nitsch, Bill Reid, Susan M. Sorenson, and Marc Wollman—each of whom have long-standing and impactful connections to RAM and Wustum. They are former staff members and RAMA Board members, regular juried exhibition participants, Artist Fellowship Award recipients, and longtime supporters of the Museum. Featuring a mixture of existing collection holdings and recent acquisitions, this exhibition offers a glimpse into the careers of these eight artists who have helped make RAM what it is todayArtists in the ExhibitionJerrold Belland, Lisa Englander, Caren Heft, Alex Mandli, Michael Nitsch, Bill Reid, Susan M. Sorenson, and Marc Wollman

From the Archives: Recently Established Artist Archives at RAM

<a rel="noopener noreferrer" href="https://experience.mcachicago.org/7252/7258" target="_blank">Get Tickets</a> Admission is free to Family Day attendees. This month find lost things and transform them into something new.Designed for children under 12 and their grown-ups, MCA Family Days invite our youngest visitors to be the museum’s artists, thinkers, and collaborators. Image: Family Day | Pocket Con, MCA Chicago, December 9, 2023. Photo: Alexis Ellers.

Family Day | Lost and Found

Joy Machine is thrilled to present World in My Eyes, a duo exhibition of Chicago artists Kayla Mahaffey and Joseph Perez, a.k.a. Sentrock. An opening reception will be held from 6 to 9 p.m. on January 30. World in My Eyes is, first and foremost, rooted in the lives of everyday people. Both Sentrock and Mahaffey have long depicted friends and neighbors in their own Chicago neighborhoods, exploring how our city shapes its youngest residents. How are children cared for? How are their imaginations and dreams nurtured? These questions recur throughout both artists’ practices and always hinge on another: how do children thrive amid turmoil, whether political, cultural, or personal? In World in My Eyes, Sentrock’s signature bird character meets Mahaffey’s energetic cast. Each artist confronts an underlying struggle–whether an unrealized dream or a physical need–not through an unrealistic swaddle of optimism but rather through the often-repeated idea that hope is a practice. For children, and for all of us seeking a better tomorrow, hope starts with courage.

World in My Eyes

Join Hyde Park Art Center for a creative spin on&nbsp;Casino Night!&nbsp;All proceeds support&nbsp;Open Arts, the nation’s only contribute-what-you-can art school for all ages and stages.&nbsp;Try your luck at drag bingo, poker, artist-created games, and more. Happening March 14, from 6 - 10 PM.&nbsp;Tickets are on sale now!&nbsp;<a rel="noopener noreferrer" href="https://oq8cplyab.cc.rs6.net/tn.jsp?f=001OAvFu-cOrbnfxV4l2KXQPCHd--IxcB1Keg4OdOQw0qnBzOwpVGQfhgBocHQ8WHUACJ3SnDQ_pmRrYWZlDpCHhGLSTH6Y87nP87eThGfO4tP-bXqxxzQRd3L_Z0W4seTakm3MEGEoglUt_Yr33-iD5coca16B7tKeE1-ajc2lWnG0u0t9fUtOYL1wN6Ce1eQtFlwN0KX3NvBZluBFqZlg8EIFH6JDYcjeh-iHZt7Umzhtdjj_2WqUR_tZOBjFDqvB&amp;c=2cAzjmAYpTwkuQ9-Lg7AULP9qOve3_zR5j3STpKnTvAiHnfJ9xd_TA==&amp;ch=5fW2A2bAIQVGksqHUOCMxewSDSvG93haJ6DaIwbwBITfRW_UahM2QA==" target="_blank">GET TICKETS HERE</a>

Casino Night & Poker Tournament 

Choreographic Place is an exhibition program presented by Bridge, premiering at the Evanston Art Center, that explores the evolving relationships between dance, sculpture, movement, written choreography, and civic space through the framework of William Forsythe’s notion of “choreographic objects”. Bridge collective members Michelle Kranicke, David Sundry, and Michael Workman seek to expand the definition to architectural or sculptural forms designed not simply to occupy space, but to shape how bodies move, and behaviors may be regulated within it, how choreography is written and read, and how movement is negotiated collectively in shared environments.

Choreographic Place

The Evanston Art Center (EAC) is excited to welcome the public to our upcoming exhibition,&nbsp;In Paper &amp; Shadow. The exhibition will be on display from&nbsp;February 21 - March 15, 2026, and will be free and open to the public. Sarah Nguyen is a mixed media artist, working primarily with paper. Storytelling is central to her hand-cut fiber panels and paintings. Her work has appeared in numerous national and international solo and group exhibitions and publications. Her work has been part of exhibitions in museums and festivals, including (but not limited to) Seattle’s Wing Luke Museum of Asian Pacific Experience, the Daum Museum, Pyramid Hill Sculpture Grounds and Museum, the Truman Museum, Cheekwood Estates &amp; Gardens, and Kansas City’s 2018 Open Spaces. She has taken part in a number of artist residencies from around the world as a visiting artist and teacher, including Serbia, Bulgaria, Japan, and France, as well as the United States.

In Paper & Shadow

To celebrate the gallery's one year anniversary, Sawhorse's walls will be covered in shelves and the shelves will hold objects by 121 artists. Exhibited artists include: Aaron Nemec, Abigail Buzbee, Abraham Cone, Ada Hamilton, Adehle Daley, Alex Adkinson, Alex Freundlich, Allegra Harvard, Amy Vogel, An Emard, Annabelle Dunstan, Ari Norris, Avery Booth, Bella Carlos, Ben Holmes, Ben Stevens, bex ya yolk, Bridget Conway, Bridget Hamel, Catherine Jacobi, Claire Adams, Claire Bentley, Claire, Helen Ashely, CM Clemente, Corrine Slade, Daniel Baird, Daniel Champion, Daniel Epstein, Danny Wieder, Deb Sokolow, Dolan Bailey, Elena Ailes, Ellie Kreischer, Em Davenport, Emily Harter, Emma Rossoff, Emma Xhaxho, Emmy Brady, Eric Wilson, Ethan Chan, Eva Sturm-Gross, Forrest Frederick, Gabriel Moreno, Grace Requejo, Hannah Tishkoff, Harleigh Shaw, Harrison Wyrick, Henry Gross, Jane Leipold, Jeff Charles, Jenny Collins, Jess Bass, Jesse Bond, John Himmelfarb, Jon Gott, Josephine Dorsey-Lauck, Julia Daniel, Julia Marks, Justin D'Acci, Kamilah Davila, Kate Hefferan, kg, Kishino Takagishi, Laura Davis, Lauren Lauer, Laveen Gammie, Liam Owings, Lily Szymanski, Lucie Scanlon, Maddie Gournay, Madeleine Aguilar, Madeleine Leplae, Madeline Gallucci, Magdalena Saliba, magicfeiei, Marissa Macias, Micah Dillman, Michelle Grabner, Mikey Mosher, Montana Russell, Natalie Toth , Nate Millstein, Neiva Mulhern, Nell McKeon, Nick D'Alessandro, Nico Ramirez Rosas, Nina Harold, Oli Watt, Olivia Mae Clanton, Olivia Martin, olivier, Paula McLean, Payton Kaeding, Pedro Albertini, Phyllis Bramson, Rachel Yanku, Rebekka Federle, Riley Duncan, Rob Sohmer, Sammie Anselmo, Samuel Schwindt, Sarah Bastacky, Sarah Braman, Sarah Diab, Sascha Huth, Sasha Miasnikova, Tulane Eichhorn, Shama Kipfer-Tessler, Sharmarke Ahmed, Tatiana Sky, Tommy John Ballard, Vic Barquin, Viktoria Tomić, Will Krauland, William Harvey, Win Hartlove, Yigit Ural, Zander Raymond, Zolt Brown-Dunn

Shelf Show

The&nbsp;Driehaus Museum&nbsp;is proud to announce&nbsp;Tiffany Lamps: Beyond the Shade,&nbsp;an exhibition illuminating the volume and breadth of Louis C. Tiffany’s vast artistic production. From the 1890s to the 1920s, Tiffany Studios created a captivating range of decorative lighting fixtures that embraced the technological shift from oil lamps to electricity and simultaneously met the styles and tastes of nineteenth and twentieth century consumers. Drawn from the expansive collections of the Museum and the private art collection of Richard H. Driehaus (now in the Art Exhibition Lending Foundation), the exhibition explores how the artisans at Tiffany Studios used a range of materials—including bronze, enamel, pottery, and glass—to bring Tiffany’s innovative lighting designs to life. Organized by guest curator Alexandra M. Ruggiero,&nbsp;Tiffany Lamps: Beyond the Shade&nbsp;will be on view at the Driehaus Museum,&nbsp;50 E. Erie Street&nbsp;from&nbsp;September 12, 2025 to March 15, 2026.&nbsp;Executive Director of the Driehaus Museum&nbsp;Lisa M. Key&nbsp;says, “Many Chicagoans and tourists have seen Tiffany lamps in passing but have not had a chance to encounter them in depth or within a richly contextualized narrative. This is a chance to draw people back to the Driehaus Museum by inviting them to see familiar works in new ways. It is an opportunity for the Museum to highlight a core strength and position as a national leader in the complex storytelling of the Gilded Age and the interpretation of design and decorative arts from this time period. In this case, the exhibition will explore the broader context—from design processes, to materials, labor, and the influence of designers like Clara Driscoll—to reframe the narrative around Tiffany Studios. “Building on past exhibitions such as&nbsp;Eternal Light: The Sacred Stained-Glass Windows of Louis Comfort Tiffany&nbsp;(2019-2020) and&nbsp;Louis Comfort Tiffany: Treasures from the Driehaus Collection&nbsp;(2015),&nbsp;Tiffany: Beyond the Shade&nbsp;expands the narrative of Tiffany lamps beyond their iconic glass shades. Guest curator Alexandra Ruggiero&nbsp;says, “I am thrilled to partner with Driehaus Museum and present the&nbsp;extraordinary range of&nbsp;Louis C. Tiffany’s&nbsp;lighting fixtures&nbsp;with a new perspective. The exhibition features objects that exemplify Tiffany’s remarkable ability to marry innovation and outstanding design, enabling museum visitors a chance to marvel at the materiality and incredible artistry of Tiffany lamps.&nbsp;In addition to presenting a range of lamp types and designs, the exhibition will include a selection of decorative objects produced by Tiffany Studios, such as&nbsp;Favrile&nbsp;glass and pottery vases, enamel and bronze boxes, and a leaded-glass fire screen. The exhibition also includes noteworthy works never before exhibited at the Driehaus Museum, including a table lamp with an enameled base and a monumental bronze and Favrile glass chandelier. Within the setting of the Driehaus Museum, the exhibition contextualizes&nbsp;the significant output of Tiffany Studios and provides visitors with a look at the innovation, design, materiality, and business of Tiffany lamps.Tiffany Lamps: Beyond the Shade&nbsp;deepens the natural partnership between the Driehaus Museum and the Richard H. Driehaus Art Exhibition Lending Foundation. By bringing together works from the Museum’s permanent collection and the Foundation holdings, the Museum can offer a broader, richer, and more nuanced presentation of Tiffany’s legacy—one that exemplifies Richard Driehaus’ belief in the power of beauty to inspire. This support deepens the Museum’s role as a cultural steward of the Richard H. Driehaus collection and extends its ability to tell new stories through exceptional design. ABOUT THE CURATORAlexandra M. Ruggiero is a decorative arts curator specializing in glass and a Consulting Curator at The Neustadt Collection of Tiffany Glass in New York. Ruggiero enjoyed a decade of curatorial experience at The Corning Museum of Glass (CMoG), where she worked on projects and research that spanned the history of glass. From 2019 to 2022, she was Curator of Modern Glass with responsibility for acquisitions, exhibitions, cataloging, and research of the CMoG’s glass collections from 1825–1945. In 2023, she was the Interim Department Head, Curator of Collections &amp; Exhibitions at The Rockwell Museum—A Smithsonian Affiliate in Corning, NY. Ruggiero earned a master’s in the History of Decorative Arts through the Corcoran College of Art + Design and Smithsonian Associates in Washington, D.C. and a bachelor’s degree in Art History from the University of North Carolina at Chapel Hill. She is a member of the Association of Art Museum Curators. ABOUT THE DRIEHAUS MUSEUMThe Driehaus Museum engages and inspires the global community through exploration and ongoing conversations in art, architecture, and design of the late nineteenth and early twentieth centuries. Its permanent collection and temporary exhibitions are presented in an immersive experience within the restored 1883 Nickerson Mansion, and the 1926 Murphy Auditorium. The Museum’s collection reflects and is inspired by the collecting interests, vision, and focus of its founder, the late Richard H. Driehaus. For more information, visit<a rel="noopener noreferrer" href="http://www.driehausmuseum.org/" target="_blank">driehausmuseum.org</a>&nbsp;and connect with the Museum on&nbsp;<a rel="noopener noreferrer" href="https://www.facebook.com/pages/Driehaus-Museum/362867207176025" target="_blank">Facebook</a>, TikTok,&nbsp;and&nbsp;<a rel="noopener noreferrer" href="https://www.instagram.com/driehausmuseum/" target="_blank">Instagram</a>.

Tiffany Lamps: Beyond the Shade

Timed with the release of the sequel to last year’s blockbuster film,&nbsp;Wicked,&nbsp;The&nbsp;Land of Oz: Beyond the Page&nbsp;takes visitors back to the original 1939 inspiration. The installation will be on view in two galleries on the Museum’s third floor. Curated by Laura Woolley, a memorabilia expert and consultant known for her appearances on&nbsp;Antiques Roadshow&nbsp;and her work at The Collector’s Lab,&nbsp;Land of Oz: Beyond the Page&nbsp;explores the imaginative artistry required to turn the classic children’s story into a beloved movie. Divided into three sections—Writing, Costume, and Production Design—the installation reveals how designers brought L. Frank Baum’s world to life.Highlights include a replica of Dorothy’s Ruby Red Slippers, an early draft of the script, a prototype of the iconic Flying Monkey costume, a character costume from Emerald City, and a replica of the Cowardly Lion’s Medal of Courage. Visitors will also see an original edition of the&nbsp;Wizard of Oz&nbsp;book, a historic telegram announcing the change from silver to ruby slippers, and a rare illustration of the Emerald City. Families, film lovers, and design enthusiasts alike will find something to spark their imaginations.Land of Oz: Page to Screen&nbsp;deepens the natural partnership between the Driehaus Museum and the Richard H. Driehaus Art Exhibition Lending Foundation. This&nbsp;support&nbsp;cements&nbsp;the&nbsp;Museum’s&nbsp;role&nbsp;as&nbsp;a&nbsp;cultural&nbsp;steward&nbsp;of&nbsp;the&nbsp;Richard&nbsp;H.&nbsp;Driehaus&nbsp;Collectionand&nbsp;extends&nbsp;its&nbsp;ability&nbsp;to&nbsp;tell&nbsp;new&nbsp;stories&nbsp;through&nbsp;exceptional&nbsp;design.&nbsp;According to&nbsp;Cynthia Van Osdol, the President and CEO of the Driehaus Trust Company, “From a young age, the Land of Oz presented a fantasy world for our founder, Richard Driehaus. He found great escape in the purpose and teamwork of its characters, and the Yellow Brick Road held a particularly vivid allure for him. As he expanded his art collection, he acquired texts, costumes, and production design originals from the 1939 film. These included, of course, our pair of Ruby Red Slippers, and a series of brilliant watercolors by Jack Smith Martin which were instrumental in the creation of the film. Equally influential is a spectacular pastel of the Emerald City, with its pair of concentric deco-styled white halos and the white light that radiates from its core. As a champion of late 19th and early 20th century architecture, it's easy to imagine why this piqued Richard's imagination. By sharing these treasures--some for the first time--we hope the public will be equally inspired. "

The Land of Oz: Beyond the Page

<a style="color: rgb(84, 88, 89);" rel="noopener noreferrer" href="https://www.meijergardens.org/plensa/?occurrence=2025-10-24" target="_blank">Jaume Plensa: A New Humanism</a>&nbsp;explores Jaume Plensa’s career-long engagement with themes common to our shared humanity such as dreams, desire, justice and mortality. While Plensa’s oeuvre is marked by diversity in format and media, the human condition remains the primary subject of his art, which traverses the personal and collective, individual and universal. Featuring both monumental and intimate-scaled sculptures and select two-dimensional works that span three decades, this is the first retrospective of this internationally acclaimed artist in the United States. Image: Jaume Plensa.&nbsp;Hortense in Slumberland, 2021. Bronze, Edition of 11. 30 x 22 x 20 cm. Photo: Roberto Ruiz © Plensa Studio Barcelona

Jaume Plensa: A New Humanism

Sale 6475<a rel="noopener noreferrer" href="https://freemansauction.com/auctions/6475-dining-at-home?page=1&amp;per=48&amp;tab=overview" target="_blank">Dining at Home</a> Mar 17, 2026&nbsp;10:00AM CT<h2> </h2>Online / Chicago

Dining at Home

Are you looking for an opportunity to share and discuss your creative practice? Our monthly Artist Critique Group offers a positive and productive space to develop your ideas through in-depth conversations. Bring your complete or in-progress work and join our supportive artist community. All mediums are welcome! Join us for an individual session or register for the full five session series. Series participants will have free access to all of Art Encounter's Weekend Art Walks, and will also have an opportunity to show their work in an exhibition at the Noyes Cultural Arts Center in September 2026. Group meets at Space 900 Gallery in Evanston, IL. Email program leader Joanna Pinsky, Artistic Director and Co-founder of Art Encounter, at <a rel="noopener noreferrer" href="mailto:joanna@artencounter.org?subject=CGN%20Art%20Encounter" target="_blank">joanna@artencounter.org</a> with any questions. When: Tuesdays, 1:00–3:00 pmWhere: Space 900, 816 Dempster St., EvanstonMember Price: $35 per session; $140 for full series of 5 sessionsNon-Member Price: $45 per session; $175 for full series of 5 sessions Spring 2026 Series: Feb. 17, Mar. 17, Apr. 21, May 19, Jun. 16 Flexible pricing is available for anyone who inquires. Please email&nbsp;<a style="color: rgb(44, 175, 154);" rel="noopener noreferrer" href="mailto:annie@artencounter.org?subject=Flexible%20pricing%20option%20for%20Artist%20Critique%20Group" target="_blank">annie@artencounter.org</a>&nbsp;for our “pay what you can” registration form. <a style="background-color: rgb(44, 175, 154); color: rgb(238, 247, 239);" rel="noopener noreferrer" href="https://secure.lglforms.com/form_engine/s/E3YFeWZMnmBqubrOnQPxrg" target="_blank">Register and Submit Payment</a> Visit <a rel="noopener noreferrer" href="https://www.artencounter.org/artist-critique-group" target="_blank">artencounter.org/artist-critique-group</a> for more information.

Artist Critique Group: A Monthly Series for Practicing Artists

Hungry Hill

The title of the exhibition is&nbsp;Her Story. The "her" of the title is our daughter, Temma Day Lowly. The title is also a bit of a feminist twist on "history." The&nbsp;Her Story&nbsp;project consists of vertical format black &amp; white paintings, each of which will be accompanied by a text (title + essay, poem, dictionary entry, etc.) written by my partner (and Temma's mother) Sherrie Lowly.&nbsp;Concurrently with paintings of the&nbsp;Her Story&nbsp;project I will be showing a current collaborative project, the&nbsp;Trio Mandorla. This large drawing also depicts Temma, but with her mother Sherrie and caregiver Ellen Herbert). Begun 3 years ago, this project involves a collaborative component wherein people who are interested can draw onto the 2 parts of the drawing that depict quilts. I have exhibited this project previously, and numerous people have joined in the participatory compontent of the piece.

Her Story

The Evanston Art Center (EAC) is excited to welcome the public to&nbsp;Ruth Poor: Beatrice. The exhibition will be on display from February 21 to March 18, 2026, in our Second Floor Atrium Gallery and will be free and open to the public.Beatrice&nbsp;is the culmination of a nearly year-long study and performative execution of "grief-work" as a means to ground oneself amidst the shared loss of environmental sanctity, bodily autonomy, and community from rising authoritarianism, Christo-fascism, and consumerism.&nbsp;Ruth L. Poor, an interdisciplinary artist, embraces an evolving process of creation rooted in research and journaling/sketching as observation. Often implementing or commenting on spiritual/religious practice and ritual as it intersects with the macrocosm of American history and politics, alongside the parallelism of the personal.&nbsp;

Ruth Poor: Beatrice

Sale 6476<a rel="noopener noreferrer" href="https://freemansauction.com/auctions/6476-e0742266-a20d-4d56-aada-46e7b4f9b92c?page=1&amp;per=48&amp;tab=overview" target="_blank">Important Jewelry</a> Mar 18, 2026&nbsp;10:00AM CT<h2> </h2>Live / Chicago

Important Jewelry

Sale 6477<a rel="noopener noreferrer" href="https://freemansauction.com/auctions/6477-the-collected-library?page=1&amp;per=48&amp;tab=overview" target="_blank">The Collected Library</a> Mar 19, 2026&nbsp;10:00AM CT<h2> </h2>Timed Online / Chicago

The Collected Library

Join us on Thursday, February 12, from 6:00 to 8:00 pm, for an exhilarating evening as we unveil a captivating new show at the Kavanagh Gallery!&nbsp;Meet some of the artists and other members of your Fine Line community and view the incredible art.This reception, like all Fine Line receptions, is free and open to everyone. Light refreshments will be served. Artists' talks and award presentations will begin at 6.30 pm.

Paper

DOCUMENT Chicago is delighted to present a two-person exhibition of photographs by Jimmy DeSana and Paul Mpagi Sepuya. Opening on January 9, the exhibition will remain on view through March 21, 2026. This intergenerational dialogue between the work of Jimmy DeSana (b. 1949, Detroit, MI – d. 1990, New York, NY) and Paul Mpagi Sepuya (b. 1982, San Bernardino, CA) unfolds as a set of carefully matched pairings. Both artists use photography to engage with queer bodies and the politics of representation, implicating the viewer as much as any figure who appears in the frame. Closely associated with New York City’s No Wave and downtown art scenes in the late 1970s and employing a rich array of photographic processes, DeSana drew on Surrealism in presenting bodies in confusing entanglement with everyday objects as well as one another. Anticipating the sexual anxieties of the imminent AIDS crisis, he infused queer erotics with equal parts absurdity and dread. Beginning his career in the mid-2000s, Sepuya’s work comes from his intimate involvement and collaboration with queer communities on both U.S. coasts. The desiring gaze can only take in Sepuya’s bodies via fragmentation, mirroring or the clever reproduction of his previous photographs; effects meticulously produced by Sepuya in the studio rather than by any digital manipulation. Side by side, DeSana and Sepuya remind us that queer aesthetics—much like queer liberation—is a continual process, never far from the lived, corporeal world. Image: Paul Mpagi Sepuya,&nbsp;Darkroom Mirror (0X5A0752), 2019. Archival pigment print; 51 x 34 in.

Jimmy DeSana and Paul Mpagi Sepuya

Amira DiawAva PetersonRebekka FederleOlivia Porter A house is never only a structure. It is a sequence of movements, arrangements, and experiences: arrivals and departures, objects placed then replaced, rooms slowly infused with life through use. Housewarming, Elise Seigenthaler Gallery’s inaugural exhibition, brings together a group of artists whose works consider the domesticity as a site of memory, projection, and emotional investigation.&nbsp;Throughout the history of art, interiors have offered a framework for thinking through personal environments and the quiet pressures of everyday life. Neither purely private nor entirely fixed, the home emerges as a place shaped by negotiation: between self and other, permanence and impermanence, outside and inside, care and neglect. The works in&nbsp;Housewarming&nbsp;engage with these tensions, approaching domestic space not as a static backdrop but as an active and evolving habitat.&nbsp;Across painting, beaded work, and sculpture, familiar elements of the home are loosened from their functional and traditional roles. Ornate decor dissolves into shimmering strokes of abstraction, rooms register absence as much as occupation, and wooden objects become affective substitutes for pets. The components and meaning of an interior are revealed as something constructed, vulnerable, and deeply entangled with personal and cultural histories.&nbsp;As the gallery’s first exhibition,&nbsp;Housewarming&nbsp;reflects a moment of arrival. The exhibition extends its attention inward and treats the gallery itself as a space in the process of becoming. The works gathered in this show trace their own paths through memory, material, and imagination, offering the gallery as a provisional interior, newly occupied and still taking shape. Amira Diaw&nbsp;(b. 2002 in&nbsp;Houston, TX)&nbsp;is an interdisciplinary artist based in Chicago, IL. Her paintings serve as an archive of their history, capturing moments from the 1970s through the early 2000s that lend a stranger-like quality in the realm of the family or kinship space. Diaw has exhibited her work with John St Gallery, Point Blank Gallery, and Gure. She is a BFA candidate at the School of the Art Institute of Chicago (2026).&nbsp;Rebekka Federle&nbsp;(b. in&nbsp;Chicago, IL) is a multidisciplinary artist based in Chicago, IL. Federle received her MFA from the University of Chicago (2025). Federle’s work was recently exhibited in the solo shows&nbsp;The Liberators, Chat About x CWAC Exhibition Series&nbsp;(Cochran Woods Art Center, IL) and&nbsp;In Your Dreams&nbsp;(Topo, ME) and&nbsp;GOODUNANIMOUSBAD BADUNANIMOUSGOOD(Logan Center, IL)&nbsp;Ava Peterson&nbsp;(b. 2002 in Columbus, OH) is an interdisciplinary artist based in Chicago, IL. Peterson received a BFA in Studio Art from Denison University (2024) and is an MFA candidate in Painting &amp; Drawing at the School of the Art Institute of Chicago (2026). Notable exhibitions include the solo shows&nbsp;House &amp; Garden&nbsp;(Incubator Gallery, IL) and&nbsp;Clear the Kitchen Table&nbsp;(Bryant Arts Center, OH) as well as the group show&nbsp;In a Child's Place&nbsp;(Purple Window Gallery, IL). Peterson has also received the Nan Nowik Memorial Award for Outstanding Artistic Expression (2024) and was a Luminarts Visual Arts Fellowship Finalist (2025).&nbsp;Olivia Porter&nbsp;(b.1995 in Los Angeles, CA) is a multidisciplinary artist based in Los Angeles, CA. Porter received her BA from Kenyon College (2018). Recent exhibitions include&nbsp;The Last Notice Show&nbsp;(Rusha &amp; Co., CA) and&nbsp;Garden 2022(Ladie’s Room, CA).&nbsp;

Housewarming

Working with shaped canvases, he breaks the rectangle, giving his works a sense of floating in space. We love their physicality…&nbsp;his practice goes far beyond painting realistic objects; he fabricates “canvases” that trick the eye.This marks Sechor's breakthrough exhibition.&nbsp;Over the past year, VSG's quarterly releases of his train cars have sold out every time.&nbsp;For this show, we're releasing nine new works — seven already placed through strong collector outreach. The two remaining cars are below.

Authorized Entry: Sechor & Akiva Listman

SoNa Chicago Contemporary Art presents&nbsp;“Beneath an Economy of Sky”&nbsp;featuring&nbsp;the&nbsp;artwork of Jack Poker, a Chicago-based artist who blends painting and collage to make unique and moving works. The exhibition&nbsp;opens Friday, February 20, 2026, at SoNa Chicago Contemporary Art, 1527 N. Ashland Ave, Chicago, IL and continues through March 21, 2026. There will be an Opening Reception on Friday, February 20 from 6-9 pm and an artist talk on Sunday, March 1 from 2:00 - 3:30 pm.Jack Poker is a Chicago-based artist whose work examines memory and how it is tied to the history of a place. His current body of work explores the economic and environmental impacts on communities of removals of buildings and transformations of spaces. Jack’s paintings, collages, and sculptures depict what happens to abandoned or demolished buildings, city blocks, suburban neighborhoods, and commercial sites as urban and rural landscapes change with economic development or neglect.&nbsp;This exhibition also includes several pieces from his Majorette series, which playfully invite the viewer to question the cultural meaning and metaphorical role of these figures in contemporary society. In both the Removal and Majorette series, Jack's paintings depict how histories, without context, are fragmented and distorted until the artist reconstructs them and the viewer gives them meaning.“Jack came to my attention when we were planning a group show with Tony Fitzpatrick in the months before Tony passed“ said Laura Botwinick, SoNa Chicago gallery owner and director. “Tony encouraged me to look at Jack’s work and when I visited his studio, I immediately offered him a solo show.”&nbsp;Tony said of Jack, “For my money he is the most underrated and little-known artist in Chicago. For all of the attention being paid to collage as well as combinations of painting and drawing and collage, Jack has flown under the radar, bringing his own sensibility to ideas of landscape, map-making, place, and poetry… He is only like himself.”Before moving to Chicago in 1995, New Mexican-born Jack Poker spent his youth in Nebraska, Kansas, and Missouri. He studied history and anthropology at the University of Missouri-Columbia before moving to Seattle, Washington, where he divided his time between work and art. He lived in Alaska briefly, where he worked on a fishing boat in the Bering Sea.&nbsp;He participated in group shows in and around Chicago until 2004 but continued to paint and sculpt full-time, selling his work to private collectors.&nbsp;In 2011, he was forced to take a hiatus from painting after his studio, along with his belongings, were destroyed in a flood.&nbsp;&nbsp;This is Jack Poker’s first solo show in Chicago. The opening reception is on Friday, February 20 from 6-9 p.m. An artist talk is scheduled for Sunday, March 1, from 2 – 3:30 p.m. For more information about the upcoming exhibition, contact Laura Botwinick at 773.513.4436 or by email at&nbsp;<a rel="noopener noreferrer" href="mailto:Lkbotwinick@gmail.com" target="_blank">Lkbotwinick@gmail.com</a>.&nbsp;Go to&nbsp;<a rel="noopener noreferrer" href="http://www.sonachicagoart.com/" target="_blank">www.sonachicagoart.com</a>&nbsp;for additional details.&nbsp;

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