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

Go behind the scenes of printmaking during this special offsite visit to the <a href="https://driehausmuseum.us3.list-manage.com/track/click?u=32343bbcd4e3063e18cdf64bf&amp;id=b8ba843115&amp;e=d1db3f815c" rel="noopener noreferrer" target="_blank">Chicago Printmakers Collaborative</a>. <a href="https://driehausmuseum.us3.list-manage.com/track/click?u=32343bbcd4e3063e18cdf64bf&amp;id=27beada8e3&amp;e=d1db3f815c" rel="noopener noreferrer" target="_blank">TICKETS</a>

Chicago Printmakers Collaborative Tour

Center for Native Futures presents Hattie Lee Mendoza, Melissa Melero-Moose, Sean Chandler

Hattie Lee Mendoza, Melissa Melero-Moose, Sean Chandler 

Randolph Street Market Festival<a href="https://randolphstreetmarket.com/event/randolph-street-market-festival-july-2026/" rel="noopener noreferrer" target="_blank">Buy Tickets</a><a href="https://randolphstreetmarket.com/vendor-application-july/" rel="noopener noreferrer" target="_blank">Become a Vendor</a>Indoor &amp; OutdoorSUMMER SOLSTICE BASH!Stroll on over to the Market and enjoy shopping 200 indoor and outdoor dealers! Find some great shades and breezy fashion as well as accoutrements for casual lifestyle and leisure time. Recharge your battery inside with cool cool A/C. Continuous live music, DJ’s, food and 3-Market Bars too!

Randolph Street Market Festival 

Waterscapes convey emotional depth. The artists in the Horizons Exhibition capture the essence of water by reflecting upon abstract shapes of color and light that shimmer on the surface. They are keenly aware of subtle shifts in temperature, mood and atmosphere.&nbsp;They blur the lines between representation and abstraction. See beyond the horizon through their eyes.&nbsp; This exhibition addresses the fragile relationship humans have with water, our most precious natural resource. Twenty percent of all revenue from sales will be donated to the Alliance for the Great Lakes. Artists: Anna Marie Crovetti, Mark Collins, Catherine Daniels, Cindy Fuller, Ted Glasoe, Louise LeBourgeois, Lynne Miller Jones, Eleanor Speiss-Ferris, Ellen Starr Lyon, and Nina Weiss.&nbsp; Image: By the Buoy" by Lynne Miller Jones Gallery Hours: Thursday through Sunday, 1 to 6 PMWebsite: <a href="http://www.grovegallery.shop" rel="noopener noreferrer" style="color: rgb(56, 101, 115);" target="_blank">www.grovegallery.shop</a>Contact: Sarah Kaiser, Gallery Director<a href="mailto:sarah@studio215.org" rel="noopener noreferrer" target="_blank">sarah@studio215.org</a>773 318 0163

Horizons: the Waterscapes

The Evanston Art Center (EAC) is excited to welcome the public to its upcoming exhibition,&nbsp;Moritz Kellerman | Recent Paintings. The exhibition will be on view from June 27 through July 29, 2026, with an opening reception on Sunday, June 28, from 1–4 p.m. The reception is free and open to the public.Born in Nicaragua, Moritz Kellerman is both a 21st-century artist and an art historian whose work is informed by the art of both the past and present. During his graduate studies at the School of the Art Institute of Chicago, Kellerman became inspired by the work of Willem de Kooning and Richard Diebenkorn. He also draws inspiration from the Old Renaissance Masters in his painting practice. His use of wood panels recalls the techniques of Leonardo da Vinci, while his method of mixing paint directly on the surface of the work echoes that of Claude Monet.Since 1981, Kellerman has exhibited extensively at colleges, museums, and galleries. He is a tenured professor at Oakton College, where he teaches Studio Art and Art History.Moritz Kellerman | Recent Paintings&nbsp;will be exhibited in the Second Floor Gallery of the Art Center. The opening reception is free and open to the public. This exhibition is partially funded by the Illinois Arts Council, a state agency, and the EAC’s general membership.

Moritz Kellerman | Recent Paintings

The Evanston Art Center (EAC) is excited to welcome the public to its upcoming exhibition,&nbsp;Rina Akowala | Ode to Color. The exhibition will be on view from June 27 through July 29, 2026, with an opening reception on Sunday, June 28, from 1–4 p.m. The reception is free and open to the public.Chicago-based, Indian-born artist Rina Akowala translates her global travels into vibrant abstract landscapes. Working across oils, inks, mixed media, and acrylics, she captures the essence of diverse locales—from European countrysides to South American waterfalls, from the farmlands of Iowa to the Indian subcontinent—emphasizing the interplay of light on land and water. Her recent work uniquely blends spiritual iconography with natural scenery, depicting ethereal representations of Lord Ganesha, the Hindu deity of wisdom and new beginnings. These pieces incorporate landscape elements, reflecting Ganesha’s invocation at the start of new ventures.Rina Akowala | Ode to Color&nbsp;will be exhibited in the Second Floor Atrium Gallery at the Art Center. The opening reception is free and open to the public. This exhibition is partially funded by the Illinois Arts Council, a state agency, and the EAC’s general membership.

Rina Akowala | Ode to Color

Artists: Natalja Heybrook, Ruti Modlin, Jeein Kim

July Solo Shows

On Friday, July 10th, we will be having an exhibit opening for special exhibitor Meghan Borah's show "Rainy Day Women." The opening will run from 5-7 PM and will display Meghan's unique, thought-provoking work, which is influenced by&nbsp;how others view us, how we view ourselves, how we react, and how that makes us feel.&nbsp; Image: Meghan Borah, "Girls with Flowers."&nbsp;

Meghan Borah: Rainy Day Women

Join ARC Gallery Members &amp; Audrey Yang for an artist talk about her new solo exhibition, Sanctuary As Method. Audrey Yang: Sanctuary As Method Sanctuary As Method offers artmaking as refuge for “throwaway” materials—snack wrappers, used kitchen gloves, old bedsheets, dryer lint—and turbulent emotions—anger, disappointment, grief, fear. These are precious evidence and accumulation of every day that we are alive. Processing these over weeks, months, and years—through repeated acts of sewing, folding, painting, soaking, dyeing, shredding, reassembling—yields continuous transformation that cannot be defined or controlled long-term. Drawing inspiration from utopia as method in literature, this body of work traces the shift from suppressing to anticipating potential beyond language and knowing—then seeing that very potential within ourselves. Artmaking as a sanctuary for distress and debris anticipates how we come to peace with our own totality. Audrey Yang is a Chinese-American interdisciplinary artist and educator, born and raised in Buffalo Grove, Illinois. She is currently pursuing a Bachelors of Fine Arts in Art Education at the School of the Art Institute of Chicago. Her work is grounded in relationships devoted to learning. She adheres to the belief that self-acceptance—the unlearning of shame—generates reciprocal webs of curiosity between oneself and others. Curiosity enables learners to think, work, interact, and imagine beyond disciplinary boundaries, beyond secondhand language, towards something infinite. Exhibition dates: July 10 – 31, 2026 Gallery hours: Thurs – Fri 2-6pm, Sat – Sun 12-4 pm

Artist Talk with Audrey Yang

Vibrance is an exhibition illuminated by movement, identity, and the electric pulse of human connection. Featuring four Chicago based artists, photography, paintings, and neon glass sculptures transform the gallery into a living atmosphere, one saturated with color, rhythm, intimacy, and unapologetic presence. Presented during Pride Month, Vibrance serves as both celebration and declaration: an affirmation of life, visibility, and the triumphs continually forged through collective resilience and self-expression. Spencer Gale constructs abstract neon sculptures that bend light into emotional architecture. His luminous and organic forms activate the surrounding environment, dissolving the boundary between object and observer.&nbsp;Photographer Francisco Malave turns his lens toward the nightlife culture. Navigating the dim corners of clubs and gay bars, Malave captures fleeting moments often hidden from public memory. His photographs reveal beauty within spaces society deems to remain unseen, preserving the spirit of nightlife not as spectacle, but as sanctuary. Painter Devon James approaches the human form as both landscape and language. Through fluorescent palettes, layered patterns, and intertwined humanoid figures, the work explores intimacy, coexistence, and the beauty found within human connection. Bodies merge and interlock within surreal compositions, suggesting the fragile yet powerful ways individuals influence and shape one another. Interdisciplinary artist Connor Young, presents paintings from his ongoing series, Killer Queen, a response to the right wing’s legislative attacks on Drag performers, queer spaces and forms of expression. In response to this, Young leans into the stereotypes that conservatives project onto Drag performers, depicting drag queens and queer icons in bright, saturated colors, with exaggerated, and often humorous poses and features.&nbsp; Together, these artists construct a bright dialogue centered on visibility, liberation, and communal energy. Vibrance explores the conditions that allow individuals to express themselves most freely, while honoring the cultural spaces, histories, and creative communities that make such expression possible. Rooted within the spirit of Chicago, the exhibition invites viewers into a world where light becomes language, color becomes emotion, and difference becomes connection.&nbsp;&nbsp;

Vibrance

Chicago Sculpture InternationalCSI Project Space Gallery EXHIBITION DATES: June 5 - July 31, 2026OPENING RECEPTION: Friday, June 5, 2026, 6–9 pm “Abstract Expressions” explores the raw, unfiltered language of gesture, color, and movement—where emotion takes form beyond representation and meaning emerges through instinct rather than depiction. Influenced by the bold innovations of artists such as Willem de Kooning, whose restless surfaces redefined the boundaries of abstraction, the pieces in this exhibition embrace tension, rhythm, and spontaneity. In these artworks, control and chaos coexist, echoing the human condition in all its vulnerability and force.&nbsp;Abstract Expressions is not about what is seen, but what is felt—an immersive encounter with the energy of creation itself, emotion made visible. Exhibiting Artists: Nikki Anderson, Pinar Aral, Tomas Co, Darlys Ewoldt, Ted Sitting Crow Garner, Shelley Gilchrist, Peter Gray, Carol Hammerman, Kasia Kay, Victoria Kowalczyk, Laurie LeBreton, Patrick Miceli, Scott Mossman, Rebecca Russow, Marvin Shafer, Yvette Kaiser Smith, Pat Stephens, Rich Stewart, Michele Thrane Curator: Micki LeMieux The CSI Project Space Gallery is located at 1912 N. Damen Ave.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Gallery Hours: Fri, 2-6 pm; Sat, 12-4 pm; Sun, 1-5 pm

Abstract Expressions

Melanie P. Brown has a long standing practice of painting in direct response to sound, music, and motion. Since 2020 her process has centered on live and recorded sound, her gestures and movements while painting, and video of birds and her own body in motion. Preparing extensive palettes and integrating pastel and charcoal, she translates rhythm, texture, and spatial perception into layered compositions. Her latest series combines all of these elements and explores how it feels to be inside a body as it moves through space as well as the image of the body itself. In some of the pieces she uses gestures of birds in flight which merge with the body as a way of expressing the feeling of unbounded space and infinite freedom that exists inside the mind. She believes that the most accurate portraits capture what something is doing rather than their static form and describes these paintings as kinetic portraits of the inner and outer self. Artist talk: Saturday, July 18th, 3-4pm <a href="https://www.eventbrite.com/e/artist-talk-with-melanie-p-brown-at-arc-gallery-tickets-1992573453839?aff=oddtdtcreator" rel="noopener noreferrer" target="_blank">Details</a>

Melanie P. Brown: Driving My Meat Machine: Flight Fantasies

"Saltwater Lullabies" gathers my new body of work, born out of memories of a fluid childhood. What began as a lullaby of waves evolved into a chorus of deeply human witnessed experiences. Raised in port cities across different continents &amp; on merchant ships under the watch of my father, a sea captain, I grew up between horizons &amp; cultures, rocked by the same salt wind. This exhibition serves as a return voyage. Through paint, I re visit unsteady decks, women on docks on lantern-lit nights, fearful moments &amp; the fevered visions of a child who belonged everywhere &amp; nowhere. The sea taught me that home is motion, memory is tidal, and even the roughest lullabies can carry you safely into morning. Welcome aboard. <a href="https://www.eventbrite.com/e/artist-talk-with-ruti-modin-at-arc-gallery-tickets-1993019017532?aff=erelexpmlt" rel="noopener noreferrer" target="_blank">Artist Talk: Saturday, July 11, 1-2pm </a>

Ruti Modlin: Saltwater Lullabies

Audrey Yang: Sanctuary As Method Sanctuary As Method offers artmaking as refuge for “throwaway” materials—snack wrappers, used kitchen gloves, old bedsheets, dryer lint—and turbulent emotions—anger, disappointment, grief, fear. These are precious evidence and accumulation of every day that we are alive. Processing these over weeks, months, and years—through repeated acts of sewing, folding, painting, soaking, dyeing, shredding, reassembling—yields continuous transformation that cannot be defined or controlled long-term. Drawing inspiration from utopia as method in literature, this body of work traces the shift from suppressing to anticipating potential beyond language and knowing—then seeing that very potential within ourselves. Artmaking as a sanctuary for distress and debris anticipates how we come to peace with our own totality. Audrey Yang is a Chinese-American interdisciplinary artist and educator, born and raised in Buffalo Grove, Illinois. She is currently pursuing a Bachelors of Fine Arts in Art Education at the School of the Art Institute of Chicago. Her work is grounded in relationships devoted to learning. She adheres to the belief that self-acceptance—the unlearning of shame—generates reciprocal webs of curiosity between oneself and others. Curiosity enables learners to think, work, interact, and imagine beyond disciplinary boundaries, beyond secondhand language, towards something infinite. Artist talk: Friday, July 31, 4-5pm <a href="https://www.eventbrite.com/e/artist-talk-with-audrey-yang-at-arc-gallery-tickets-1993016793881?aff=oddtdtcreator" rel="noopener noreferrer" target="_blank">Details</a> Exhibition dates: July 10 – 31, 2026 Gallery hours: Thurs – Fri 2-6pm, Sat – Sun 12-4 pm

Audrey Yang: Sanctuary As Method

Wine Reception 6:00pm | Program 6:30Filmmaker and theater artist Derek Spencer imagines three would-be lovers paralyzed by their fantasies. Utilizing Oren Pinhassi’s sculptures in The Arts Club of Chicago’s gallery as inspiration, architecture, and scene-partner, Spencer’s film, 𝘈𝘯𝘥 𝘋𝘰 𝘍𝘰𝘳 𝘏𝘦𝘳 𝘞𝘩𝘢𝘵 𝘏𝘦 𝘞𝘰𝘶𝘭𝘥 𝘋𝘰 𝘍𝘰𝘳 𝘔𝘦, constructs a shape-shifting love-triangle without resolution. The newly-commissioned, site-specific work is presented as a three-channel triptych and accompanied by a collaboratively-devised vocal score. Before and after the screening, Spencer sits down with fellow filmmaker Sid Branca to discuss process and background. Join for a wine reception from 6:00 – 6:30pm before the program.Sliding Scale Tickets available from $5 – 20 per person on-site (includes a drink ticket), complimentary remote viewing.Cast &amp; Crew:Devised and Performed by Rahila Coats, Nic Eastlund, Zachary NicolDirector of Photography - Eon MoraLine Producer/Vocal Coach - Katie MazziniGaffer - Maximilian VanderwerfFirst Assistant Camera -Taylor Brady<a href="https://us.list-manage.com/lz9XYqI_Iyo?e=e3c33543d7&amp;c2id=862ae2c1bcef2b7ceb1b01f686f9f68e" rel="noopener noreferrer" target="_blank">Register Here</a>

Derek Spencer’s And Do for Her What He Would Do For Me Debut Screening of a New Film Commissioned by The Arts Club

Please join us for a special exhibition by ENGAGE Projects at SoNa Chicago Contemporary Art. The exhibition series invites artists to transform the gallery into an extension of the studio. Featuring finished works alongside works in progress, the exhibition offers visitors a deeper understanding of artistic process, material experimentation, and the evolving nature of a practice. Rather than a performative studio reconstruction, Studio Sessions creates space for intimacy, conversation, and close looking—encouraging collectors, curators, and the broader community to engage with artists beyond the finished object. Each participating artist will present one to three completed works alongside a developing piece from the studio, offering insight into the decisions, revisions, and thinking that shape the work over time. Participating artists include Nick Albertson, bARBER, Matthew Girson, Noel Mercado, and Margaret Welsh. Throughout the exhibition, ENGAGE Projects and SoNa Chicago will host a series of public programs, including artist conversations, panel discussions, and special events designed to further expand dialogue around artistic practice and studio culture. Participating artists will also be invited to take part in week-long Instagram takeovers on the ENGAGE Projects account, offering additional opportunities to share process, inspiration, and perspectives from the studio. About ENGAGE Projects: In pursuit of the continued study of the arts and support of community-led progress, ENGAGE Projects’ vision is centered around engagement with artists, communities, and patrons. See more about ENGAGE Projects <a href="https://www.engage-projects.com/" rel="noopener noreferrer" target="_blank">here</a> About SoNa Chicago Contemporary Art: SoNa Chicago highlights primarily contemporary artists from Chicago. Although we will put a spotlight on Chicago artists, we want the dialogue between artists in the gallery to be global. We view our space as a venue for conversation, community, and a celebration of the arts. View more about SoNa Chicago <a href="https://sonachicagoart.com/" rel="noopener noreferrer" target="_blank">here</a>

Studio Sessions: A Collaboration with Engage Projects

Join The Art Center in celebrating a new show from the artists of the&nbsp;Illinois Watercolor Society.&nbsp;Browse, shop, and enjoy a variety of watercolor works on display. Entry is free, with light refreshments and drinks provided.<a href="https://rkcgwygbb.cc.rs6.net/tn.jsp?f=001tn00zdsF62uWZQ53wMHAwOTis5qqYO6Kh1sko1kjBnuSukhTWqBylGc4Kcidw-hdq58ADvutU_AVQFplYxhuqJaQkxfCGRa4lvbzpXNp1HWOqoj-IyErjdumeK35NEpCzFda5MleUa-2bJoGQHbSDT5whTnTFwfZs0m9gGvcXN10VL-5zLHlR0Gry_RRwj7tT5_17_YpcNZDTEakJI6p85QmHNopDyndtHzuXx5S2HK7GqHwkmz_zcqCNW1UQUKHqZNTrjMYX8k=&amp;c=4d8TxCl1AwZFEz9uui10eyUorK12f-gS6OPNB-6SdddswFJi2TvVZw==&amp;ch=SlvVujyIgfwl_Czvcy7d5tiy-M5tJXyv-fN_EONtwT3qWWVrZI-S7Q==" rel="noopener noreferrer" target="_blank">Learn more</a>

Illinois Watercolor Society Members Exhibition 2026

moniquemeloche is pleased to present Lavar Munroe:&nbsp;DANCE WITH MY FATHER AGAIN, the artist’s second solo exhibition with the gallery. Munroe is an interdisciplinary artist from Nassau, Bahamas whose work spans painting, drawing, sculpture, installation, collage, and assemblage. Working with an expansive range of materials including paint, cardboard, feathers, glass, found objects, textiles, newspaper, and discarded cultural artifacts, Munroe constructs richly layered worlds that merge folklore, spirituality, personal memory, and collective history.Munroe’s exhibition emerges from research developed for The Bahamas Pavilion at La Biennale di Venezia 2026, which recently opened to rave reviews, and centers on an intergenerational dialogue between Munroe and the late Bahamian artist John Beadle – who are both deeply shaped by Bahamian culture and particularly the traditions of Junkanoo, the national festival known for its processions, elaborate handmade costumes, music, improvisation, and collective production. Following Beadle's death in 2024, Munroe developed works that engage Beadle's legacy, incorporating aspects of his artistic philosophy, collected materials, sketches, and influence.&nbsp;DANCE WITH MY FATHER AGAIN&nbsp;extends Munroe’s ongoing exploration of posthumous collaboration while marking a deeply personal return to continue an unrealized project conceived with his late father.Before his father's passing, Munroe envisioned a collaboration centered on the parachutes his father—&nbsp;a&nbsp;Junkanooer, fisherman, and boatsman—washed, repaired, and braided by hand. Recognizing their sculptural beauty, Munroe hoped to present the parachutes as artworks and respond to them through his own visual language, creating a dialogue between two makers connected by a shared understanding of material transformation. Although his father's death interrupted the project, the collaboration sustained as Munroe incorporated these objects into subsequent installations, sculptures, and drawings, allowing his father's presence to remain an active force within the work.This exhibition marks a return to the origins of that conversation through a series of unstretched paintings on canvas. While earlier projects relied on inherited objects as collaborators, these paintings position memory itself as the medium of exchange for which the artist navigates loss, celebration, and lasting connection. Central to these works is the Bahamian tradition of shared mourning, where movement, coordinated dress, and united visual markers transform grief into a communal act. The figures depicted here are "rushing", a term associated with participation in Junkanoo processions moving through spaces that are at once celebratory and elegiac. Layers of Bahamian newspapers from 2024 to 2026 function as both historical record and a fragmented archive, preserving traces of specific moments that emerge and disappear beneath successive layers of paint, fringe, beads, sequins, and decorative elements derived from Junkanoo costume-making traditions. The surface feels simultaneously celebratory and weathered, echoing the handmade exuberance of Junkanoo while preserving the residue of lived experience and ritual.Taken together, the works in&nbsp;DANCE WITH MY FATHER AGAIN&nbsp;revisit the relationship that first inspired Munroe's notion of posthumous collaboration. Here, Munroe deftly showcases painting as a space in which communication, remembrance, and artistic partnership can be shaped by the enduring presence of ancestors, community, and shared history.<a href="https://t8j4tqkab.cc.rs6.net/tn.jsp?f=001HEw2jKi8CMNvWFoG6Y6F_Y3BYAk2Ifckta9-otEzFXdeEZCvpFMjv4T-4WiWcVLUo2vWiD5WVwoqrIq1D_lGHu7UvTSxViO5kQOF40dMN7PkWYQeA_RInXx3PEZVTmOwk3pfqkNNRJVo2Z9oHP36F7HYpK_vL5BPefYGxRPaB4T02EqELWDflGnqlC7CcWHa09JArziskxpdij8PUFAIn6CHtGzBtT5Bmg51WWuNE27QYSfFy8u4LSnZRyIugv8NcF0uKsP5HEv2qleI8rYS-w==&amp;c=mayR7Zr2M0pE5TwMwhP-aeMkDM48iXct9v_W7lzwQ-VJM2ZoyBc2ow==&amp;ch=BQh7hExe1nF9iMcSRvD4Wtp5HkGqvRDY5t-eDaDwe8S1pAjqR559sw==" rel="noopener noreferrer" target="_blank">Learn more</a> Image: Lavar Munroe,&nbsp;DANCE WITH MY FATHER AGAIN (detail), 2026

Lavar Munroe: DANCE WITH MY FATHER AGAIN

<a href="https://tnxbinhbb.cc.rs6.net/tn.jsp?f=001Rno48du2XKNGZv0kmxo6I-i_5GsUVB3q-yH2lCwRqAT-EsZjDAYAQ2PR00YXbJQsxb7NINg6dNnaIVhyMALeGYZ6qJUoYR6VPW-erO2W2o_gRY1D9a512PU-5K_39mDr3YvxN_pcqA9qxcccvcZkALjLnfR_VhXC-mbsyyIc7lc2xMjnNFo1gN1P7kjghgnMMW6A8o_H8J_5ryZ7LeKK44fJ3KJ2joxBjPTDOZ5MCkshgizSsjr-USZJDYsfGdaU-WEI18LWbsc=&amp;c=Ybe2_q451B18_Da2mEuXxDXcLqOaLDhQfyAEGPIb5czCldGVyA5amQ==&amp;ch=ymKqTsYIbk9-VcvqyLiVdGXGE7ekMRU8Gz_PVKW5h59kPJjNy8HYtA==" rel="noopener noreferrer" target="_blank">Moving Identities: 16 Voices of Belonging</a>. Congratulations to 2021 Resident&nbsp;<a href="https://tnxbinhbb.cc.rs6.net/tn.jsp?f=001Rno48du2XKNGZv0kmxo6I-i_5GsUVB3q-yH2lCwRqAT-EsZjDAYAQ2PR00YXbJQsYf-tO4QyqaWd382s6FV2lbPtoudKhtTSRvOWfOq_u1WlhJcp-pik7whNcSWb-54jzDhutqh9487VDoEfeUIV-T-V3CXkU4ZwXDrIhusKxp8=&amp;c=Ybe2_q451B18_Da2mEuXxDXcLqOaLDhQfyAEGPIb5czCldGVyA5amQ==&amp;ch=ymKqTsYIbk9-VcvqyLiVdGXGE7ekMRU8Gz_PVKW5h59kPJjNy8HYtA==" rel="noopener noreferrer" target="_blank">Cristobal Alday</a>, 2023 Resident&nbsp;<a href="https://tnxbinhbb.cc.rs6.net/tn.jsp?f=001Rno48du2XKNGZv0kmxo6I-i_5GsUVB3q-yH2lCwRqAT-EsZjDAYAQ2PR00YXbJQsSJGHxO5W9qVkrBMijlG8jpffPveq7gCB1-EdHcZ8mt4y_AhYDXxfntd-jjLhC5OKmpv8zo6NNLHXx6MWN6fhgByV5vHbqEIqGpxeVduGhuyZ2eUT5PzB_a_j0d_sw-Z_BCM7C8YuDyg=&amp;c=Ybe2_q451B18_Da2mEuXxDXcLqOaLDhQfyAEGPIb5czCldGVyA5amQ==&amp;ch=ymKqTsYIbk9-VcvqyLiVdGXGE7ekMRU8Gz_PVKW5h59kPJjNy8HYtA==" rel="noopener noreferrer" target="_blank">Armando Román</a>, 2024 Resident&nbsp;<a href="https://tnxbinhbb.cc.rs6.net/tn.jsp?f=001Rno48du2XKNGZv0kmxo6I-i_5GsUVB3q-yH2lCwRqAT-EsZjDAYAQ2PR00YXbJQsCLsFQJWLx5McXZv_7v4HiPWKaUivimueFXkaCiiVtnlEhbiHuaht6ilvkLyYa8erkvjIoWG6ces7uYATEE0-reATLvSDsnqkBMy5FydJMzylV2eJNz_rAor8dqPWreFsGbwkYxi0y4vuyShsjx1EScUvE9rbfzD8&amp;c=Ybe2_q451B18_Da2mEuXxDXcLqOaLDhQfyAEGPIb5czCldGVyA5amQ==&amp;ch=ymKqTsYIbk9-VcvqyLiVdGXGE7ekMRU8Gz_PVKW5h59kPJjNy8HYtA==" rel="noopener noreferrer" target="_blank">Jairo Granados-Cardenas</a>, 2025 Resident&nbsp;<a href="https://tnxbinhbb.cc.rs6.net/tn.jsp?f=001Rno48du2XKNGZv0kmxo6I-i_5GsUVB3q-yH2lCwRqAT-EsZjDAYAQ2PR00YXbJQs4Z-uV5wZ-UeTtDPeTnyUQPQlzIXr4x9Mk2ncH6TQLp9LxGpLnWIEN2-FbH7mF3xch5RGNth4cGgDyq51zELKQhn0Ii7TLN2Jd5dGl4sOpe-opQRdtLRVxPGuYDW-UZ27fX_TvJqKTU953FyS7DFpSA==&amp;c=Ybe2_q451B18_Da2mEuXxDXcLqOaLDhQfyAEGPIb5czCldGVyA5amQ==&amp;ch=ymKqTsYIbk9-VcvqyLiVdGXGE7ekMRU8Gz_PVKW5h59kPJjNy8HYtA==" rel="noopener noreferrer" target="_blank">Miguel Limón</a>, and 2025 Resident&nbsp;<a href="https://tnxbinhbb.cc.rs6.net/tn.jsp?f=001Rno48du2XKNGZv0kmxo6I-i_5GsUVB3q-yH2lCwRqAT-EsZjDAYAQ2PR00YXbJQsNrGgU629D6rcMqTzXTXNusf2Unntl3n6x23xQp1H-cHE1SPDX8pVAUTaBc9fiZQ_KB25vBdcojnBWxr14P9-5q0Pgq2jzoQUwYn9BCIlZr0P5f3_hMA1H5GKngmCe2inDVPd3f5ai8-ym2mtvQZ9xA==&amp;c=Ybe2_q451B18_Da2mEuXxDXcLqOaLDhQfyAEGPIb5czCldGVyA5amQ==&amp;ch=ymKqTsYIbk9-VcvqyLiVdGXGE7ekMRU8Gz_PVKW5h59kPJjNy8HYtA==" rel="noopener noreferrer" target="_blank">Carina Vargas-Nuñez</a>&nbsp;on being included!Viewings every Thursday, Saturday, and SundayClaudia Cassidy Theater Lobby, Chicago Cultural Center in partnership with the Consulate General of Mexico in Chicago |&nbsp;78 E Washington St, Chicago, IL 60602

Moving Identities: 16 Voices of Belonging

Registration is required. Visit&nbsp;www.EvanstonArtCenter.org&nbsp;for more information.The Evanston Art Center (EAC) is excited to welcome the public to our upcoming exhibition,&nbsp;Presence and Absence: The Space Between | Curated by Indira Freitas Johnson. The exhibition will be on display from July 6 – August 2, 2026 with an opening reception on Sunday, July 12, 1–4 pm that will be free and open to the public.Curated by Indira Freitas Johnson,&nbsp;Presence and Absence: The Space Between&nbsp;is the culminating exhibition for the EAC’s Curatorial Fellowship. Johnson’s fellowship explores the dual reality of death—the physical disappearance of those we love and the enduring emotional, spiritual, and cultural traces they leave behind. Through sculpture, painting, performance, and participatory installations, the exhibition brings together fragile and enduring materials to reflect on memory, loss, and the tension between impermanence and our human desire to hold on. Rather than viewing death as an ending, the exhibition considers it as a connective force between past, present, and future, inviting visitors to reflect on legacy, remembrance, and the ways we remain present even in our absence. Indira Freitas Johnson is a sculptor, cultural worker, peace activist, and educator whose work explores the intersection of art, community, and social change.Presence and Absence: The Space Between&nbsp;will be exhibited in the First Floor Gallery of the Art Center. The opening reception is free and open to the public. This exhibition is partially funded by the Illinois Arts Council, a state agency, and the EAC’s general membership.Evanston Art Center, a nonprofit 501(c)(3) organization, is dedicated to fostering the appreciation and expression of the arts among diverse audiences. The Art Center offers extensive and innovative instruction in broad areas of artistic endeavor through classes, exhibitions, interactive arts activities, and community outreach initiatives.Evanston Art Center is located at&nbsp;1717 Central St., Evanston, IL.

Presence and Absence: The Space Between | Curated by Indira Freitas Johnson

Our Free Days Are Taking The Night Shift! From March through November, we’re returning to Free First Tuesdays! On the first Tuesday of every month, enjoy extended hours from 5:00 pm to 8:00 pm - admission is free for all, no residency restrictions.

Free First Tuesday

Step into the sharp, subversive world of satire, past and present, in this lively panel inspired by the Driehaus Museum’s exhibition&nbsp;Ink &amp; Outrage: 18th-Century Satirical Prints in London &amp; Dublin. Using the exhibition as a springboard, writers and contributors from&nbsp;The Onion&nbsp;and&nbsp;The New Yorker&nbsp;will bring the conversation into the present day, exploring how satire is crafted, circulated, and received in today’s fast-moving media landscape.&nbsp; This discussion focuses on the enduring mechanics of satire, its targets, its techniques, and its cultural impact. Panelists will reflect on how their own practices echo (or diverge from) historical traditions, revealing how, in many ways, the more things change, the more they stay the same.&nbsp; Moderated by Colin Barr of the University of Notre Dame, whose scholarship bridges Irish and English history, the conversation offers audiences a unique opportunity to connect the incisive humor of the 18th century with the satirical voices shaping public discourse today. Whether you’re a longtime fan of contemporary satire or newly curious, this program invites you to see both past and present with fresh eyes.&nbsp; About the Panelists Colin Barr (Moderator)&nbsp;is professor of modern Irish history in the Keough School of Global Affairs at the University of Notre Dame and the Thomas Moore and Judy Livingston Director of the Keough School’s Keough-Naughton Institute for Irish Studies. Barr was born in Canada and raised in the United States. He holds a B.A. from Stonehill College and a Ph.D. from the University of Cambridge, and has held academic appointments in Ireland, the United States and the United Kingdom. Barr’s work seeks to place the history of the island of Ireland and its peoples in the widest possible context, including that of the United Kingdom, the continent of Europe, the Roman Catholic Church and the global Irish Diaspora.&nbsp; Tom Bachtell&nbsp;is a freelance cartoonist and caricaturist and illustrator. His distinctive drawings appeared in The New Yorker’s Talk of the Town section for 25 years, and he contributes regularly to the New York Review of Books. His work also appears in Politico and i-D Magazine. Tom illustrated Bag Man (Crown 2020) by Rachel Maddow, and recently published his first children’s book, The WhyBecause Book - Das Warum-Weil Buch in Germany (Tanja Langer 2025).Mike Gillis&nbsp;is head writer for The Onion. He’s also written for The New Yorker, The Atlantic, McSweeney’s Internet Tendency, Tricycle, ClickHole, and the Supreme Court (in the form of a recent amicus brief in defense of parody and free speech).&nbsp; Rob Knoll&nbsp;is a staff writer at The Onion. He has also written for the website ClickHole.

Exploring Satire with The Onion and The New Yorker

John McIntire is a self-taught artist who turned&nbsp;to oil painting later in life as a way to create and express his interest in modern art. Surrounded by talented artists his entire life, John has been influenced by his mother (grade school art teacher), Tim Ferrarell (Lewis U roommate, art major) and his brother Paul (architect, sculptor). John‘s paintings are all abstract, inviting viewers to see whatever their imagination allows. He envisions them in urban spaces – open, expressive and minimalist.

John McIntire: Fields In Color

Public Opening | 5:30 –&nbsp;8:00 pmOpening Artist Talk&nbsp;| 6:00 – 7:00 pm Artist Oren Pinhassi sculpts anthropomorphic forms at great scale that appeal to the senses and intellect at once. He brings to The Arts Club of Chicago a series of figural/architectural works that occupy the gallery in an encompassing configuration, aiming to trigger the physical engagements of desire and fragility. On a basic level, Pinhassi’s forms address viewers as beings. They stand erect, though full of bulbous protrusions and seductive orifices. Yet, they refuse to be fully explicit, instead, seeking to communicate in the manner of poetry. Pinhassi’s towering or sprawling creatures draw upon such ordinary materials as sand, stone, or vinyl. In a process he has named “erotic construction,” Pinhassi uses sensual appeal, rough texture, suggestive pose, and intimate detail to press against the confines of a restrictive society.&nbsp;He has further explained, “The cavities in my work—windows, holes—simultaneously reference the most intimate cavities of the body and, as recognizable architectural elements, become landscapes for this public exchange.” How do streetscapes or open windows suggest encounters or interpenetrations? What are the boundaries between one and another? Why do we fear contact? And where might mutual understanding be found?New York-based artist&nbsp;Oren Pinhassi&nbsp;(b. 1985) creates sensuous sculptures and immersive installations that explore the reciprocal relationship between humans and the environments we create. His work investigates how architecture and objects shape our bodies, behaviors, and perceptions while simultaneously carrying traces of human presence, desire, and vulnerability. Pinhassi’s ongoing dialogue highlights how our designs, in turn, design us.Working primarily with sand and plaster, Pinhassi is drawn to organic materials for their transformative potential and porous nature. His process of layering burlap, plaster, and sand over welded steel skeletons involves repeated tactile engagement, mirroring how environments carry the marks of human action—surfaces bearing traces of interaction, labor, care, and also the effects of erosion and destruction. His works challenge fixed ideas of private and public space and the roles we carry within them, envisioning construction as a tender world of hybrid forms where human and environment exist in constant co-creation.The exhibition is curated by&nbsp;Janine Mileaf, Executive Director and Chief Curator at The Arts Club of Chicago.&nbsp;Publication: To accompany the exhibition, the Arts Club of Chicago and Zolo Press, Mexico City, will copublish the artist’s first monograph with an essay by&nbsp;Alyce Mahon, Professor of Modern and Contemporary Art History and Fellow of Trinity College at the University of Cambridge, and support from Edel Assanti, London, Commonwealth and Council, Los Angeles, and Lehmann Maupin, New YorkPhoto:&nbsp;Truth Teller&nbsp;(detail), 2024. Steel, burlap, sand, polymer and rock. 93 x 30 x 24 in (236.2 x 76.2 x 60.9 cm). Photo by Elisabeth Bernstein. Courtesy of the artist and Lehmann Maupin Gallery.

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