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

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

Vertical Gallery's 13-Year Anniversary Show

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

It Will Destroy You

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

Duality

The Evanston Art Center (EAC) is excited to welcome the public to our upcoming exhibition,&nbsp;TEXAS ART NOW: Rhythms and Myths. The exhibition will be on display from March 28 - April 19, 2026, with an opening reception on Sunday, March 29, from 1-4pm that will be free and open to the public.All four artists, Michael Roqué Collins, Sherry Owens, Carlos Canul, and Sharon Kopriva presented in TEXAS ART NOW: Rhythms and Myths&nbsp;explore and create their complementary subjects showing views with essential senses of mystery, memory, and dreams within natural and human horizons. Their creative efforts exploring the natural world are filled with interpretations of the inherent mysteries and rhythms that amplify the subconscious realm making these combinations of art a most powerful exhibition.TEXAS ART NOW: Rhythms and Myths&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.

Texas Art Now: Rhythms and Myths

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

L.A. Woman

Evening events: APR 3, 4, 7, 10 &amp; 11General Admission: APR 4-19, 11-5 PMCLOSED MONDAYS&nbsp;BARELY FAIR is excited to announce our 2026 edition of Chicago's international 1:12 scale art fair! Operated by JULIUS CAESAR artist collective, BARELY FAIR 2026 hosts 30 artist-run spaces, commercial galleries, and curatorial projects from around the world.This year's fair presents 15 BARELY FAIR newcomers, where all exhibitors share a small look at their programming inside 20 x 20 x 12 inch booths. Our 15 new exhibitors will be joining the more than 100 past exhibitors to have participated in bringing intimate art experiences to the art fair format.2026 EXHIBITORS:ACKERMAN CLARKE — ChicagoChris Sharp Gallery — Los AngelesCorbett vs. Dempsey — ChicagoDK Collection — ChicagoEssex Flowers — New York CityFundacja Art House — Olesnica, PolandGood Naked Gallery — New York CityGood Weather — North Little Rock &amp; ChicagoGordon Robichaux — New York CityHans Goodrich — ChicagoHarlesden High Street x Miri — LondonINTERNATIONAL WATERS - New York CityIvory Gate — ShanghaiJack Barrett — New York CityJulius Caesar — ChicagoJunior. Gallery — New York CityLandline — ChicagoLaura (the Gallery) — HoustonMARCH — New York City&nbsp;THE MISSION PROJECTS — ChicagoGalerie Noah Klink — BerlinOlney Gleason — New York CityOrtega y Gasset Projects — Toronto &amp; MontréalOSMOS — New York CityP.A.D. — New York CityRed Arrow — Nashvillero art services — ChicagoSheet Cake Gallery — MemphisTala — ChicagoWestern Exhibitions — ChicagoTo maintain a sense of scale where visitors feel central to their encounter, we are striving to maintain an ideal number of attendees during open hours. As a result, all visitation to this year's fair is ticketed. Tickets will be available through ARTSVP platform from our website.We will be offering a range of ticket prices over the course of the fair's run, with a variety of experiences available to the general public through day time hours to special evening events. Visit our <a href="https://juliuscaesarchicago.us8.list-manage.com/track/click?u=1fd4a0ca9dc57e09883401cac&amp;id=24346f09a2&amp;e=bef31f7324" rel="noopener noreferrer" style="color: rgb(17, 85, 204);" target="_blank">website</a> or follow our fair instagram account, <a href="https://juliuscaesarchicago.us8.list-manage.com/track/click?u=1fd4a0ca9dc57e09883401cac&amp;id=745d0ceaf0&amp;e=bef31f7324" rel="noopener noreferrer" style="color: rgb(17, 85, 204);" target="_blank">@barely_fair</a>, for regular updates on the fair and our exhibitors.Tickets for evening events, titled VIP NIGHTS, go on sale Friday, March 27th. Due to our focus on smaller encounters with contemporary art with this year's fair, we recommend utilizing the wait list on our ticketing platform if you cannot find a time or date that works for you. We will be looking to add ticket capacity as the fair nears.We hope to see you there!<a href="https://juliuscaesarchicago.us8.list-manage.com/track/click?u=1fd4a0ca9dc57e09883401cac&amp;id=5b8df13638&amp;e=bef31f7324" rel="noopener noreferrer" style="color: rgb(17, 85, 204);" target="_blank">BARELY FAIR</a> is a miniature art fair operated by <a href="https://juliuscaesarchicago.us8.list-manage.com/track/click?u=1fd4a0ca9dc57e09883401cac&amp;id=9d66dab9cd&amp;e=bef31f7324" rel="noopener noreferrer" style="color: rgb(17, 85, 204);" target="_blank">Julius Caesar</a>. The fair presents 30 exhibitors including contemporary art galleries, project spaces, and curatorial projects during ART WEEK in Chicago. Included exhibitors present inside 1:12 scale booths built to mimic the design of a standard fair.<a href="https://juliuscaesarchicago.us8.list-manage.com/track/click?u=1fd4a0ca9dc57e09883401cac&amp;id=3c585dfd73&amp;e=bef31f7324" rel="noopener noreferrer" style="color: rgb(17, 85, 204);" target="_blank">Julius Caesar</a> is an artist collective established in 2008. An ever-evolving group of artists acts as co-directors and at present is Tony Lewis and Roland Miller.

Barely Fair 2026

The Evanston Art Center (EAC) is excited to welcome the public to our upcoming exhibition,&nbsp;La Jaula De Oro | Azul Alberto Nogueron. The exhibition will be on display from&nbsp;March 14&nbsp;–&nbsp;April 19, 2026, with an opening reception on&nbsp;Sunday, March 29, and will be free and open to the public. Inspired by Los Tigres Del Norte song and curated by Azul Alberto Nogueron,&nbsp;La Jaula De Oro&nbsp;asks artists to respond to the illusion of the American Dream from the perspective of marginalized artists, using personal narratives about immigration, assimilation, and acceptance of identity. Artists Taly Inkz, Lily Guillen, and Gnat Rosa Madrid respond to the question: “What does it mean to be disillusioned?” La Jaula De Oro&nbsp;is the first of three exhibitions for our COMPASS Curator Residency, which provides an emerging curator with the opportunity to curate three shows in the Evanston Art Center’s Lobby Gallery space. The EAC’s Lobby Gallery is dedicated to exhibiting emerging and underrepresented artists and curators and responds to current and social events. EAC’s 2026 COMPASS Resident Azul Alberto Nogueron is a queer non-binary multidisciplinary artist from Chicago, IL, whose practice reflects on their personal beliefs and experiences as a trans person to create stories of acceptance, fear, and curiosity. La Jaula De Oro&nbsp;will be exhibited in the Lobby 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.

La Jaula De Oro | Azul Alberto Nogueron

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

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;through April 19, 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’s 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

PRESENTED BY ART CONNECTED EXHIBIT – 3rd &amp; 4th Floor Galleries The Illinois High School Art Exhibition program is one of the country’s largest and most influential student art exhibition programs. Each year, over 100 city, suburban, public and private Illinois high schools from across the state converge on the Bridgeport Art Center in Chicago to participate in various exhibition programs. This year’s exhibition features over 1,000 works of art from young artists in over 10,000 square feet of gallery space. IHSAE MAIN EVENTAwards Ceremony &amp; Art ThrowdownSunday, April 13th from 12pm-4pm The best student artists from 100 Illinois high schools will come together to celebrate the power of art in their lives and showcase their work at the 10th Annual Illinois High School Art Exhibition (IHSAE). The Senior Scholarship Exhibition will exhibit some 500 senior artworks and recognize scholarship offers totaling over $100 million dollars annually. <a href="https://www.artconnected.org/" rel="noopener noreferrer" style="color: rgb(44, 44, 44);" target="_blank">ART CONNECTED</a>

Illinois High School Art Exhibition

Art in Bloom&nbsp;returns for the tenth year with an imaginative display of live florals and other organic materials by local designers based on Permanent Collection works. This year’s fundraiser will be held in the Rockford Art Museum galleries!Art in Bloom is on view Thursday through Sunday, April 16th-19th from 10 AM to 5 PM. Tickets to view Art in Bloom are available to purchase at the door.A first look at this year’s designs will take place at the&nbsp;ticketed Preview Party&nbsp;on April 15th. This event includes heavy hors d’oeuvres and wine and provides attendees the opportunity to speak directly with the designers. Tickets must be purchased in advance and are now on sale (<a href="https://rockfordartmuseum.org/event/art-in-bloom-preview-party-2026/" rel="noopener noreferrer" style="color: rgb(0, 0, 0);" target="_blank">click here</a>).The ninth annual&nbsp;Fashion in Bloom&nbsp;returns with Cocktails and Living Couture on April 17th. Featuring fashions accessorized with fresh floral accessories created by local florists. This event includes heavy hors d’oeuvres. Tickets must be purchased in advance and are now on sale (<a href="https://rockfordartmuseum.org/event/fashion-in-bloom-2026/" rel="noopener noreferrer" style="color: rgb(0, 0, 0);" target="_blank">click here</a>).For a complete list of ‘In Bloom’ Events and workshops, visit our events page.2026 Sponsors:Dean Alan Olson Foundation, Gensler Gardens, Rosecrance Behavioral Health; Coleman CPA &amp; Consulting, Inc., Anne + David Boccignone, Women’s Art Board; Savant Wealth Management, Wells Fargo Advisors; Judith Boccignone; Ahlstrand Family Foundation, Bill Doran, Inc., Fehr Graham Engineeringand Environmental, RBC Wealth Management/Matthew Montalbano, Title Underwriters; Sara + Dave Deutsch, Sherry + Greg Harlan,RE/MAX Property Source/Julie Humpal, Revive Chiropractic Wellness Center; Coyle Kiley Insurance Agency, Inc., FurstStaffing, Garcea Computers LLC, Olson Aluminum Castings, Karen + Tom Shifo, Patty + Jeff Smith;Platt Hill Nursery; In-Kind support: B Jones Boutique, Parella Beauty Co., Rooted/Picked by Rooted, Saatva Yoga Spa, The Velvet Poppy Floral Design2026 DesignersAnderson Gardens, Bill Doran Co, Buckets and Blooms, Cherry Blossom Florist, Cypress House, Event Floral, Garden of Eevie, Kishwaukee College Floral Design, Maple Leaf Floral, Marengo Floral Co, Catherine + Joel Marsh, Nicholas Conservatory and Gardens, Nostalgic Dwelling, Pepper Creek, Picked by Rooted, Prairie Wildflower, Michelle Princer, RAM Team, Gretchen Schwalbach, St. Charles Florist &amp; Boutique, The Velvet Poppy Floral Design, Willrett Flower Company

Art In Bloom

The exhibition&nbsp;Pao Houa Her: Seeds of History&nbsp;presents a newly completed photographic series by Pao Houa Her that brings together her long-standing practices of portraiture and landscape photography. The work reflects Her’s deep commitment to building relationships and thoughtfully representing the people and cultural traditions of the HMong diaspora. Developed alongside&nbsp;Pao Houa Her: The Imaginative Landscape&nbsp;at the John Michael Kohler Arts Center,&nbsp;Seeds of History&nbsp;grew from the artist’s vision to photograph HMong Americans from the Sheboygan area posed in a field of poppies. Created in the summer of 2025, the black-and-white series includes more than a dozen portraits, thirteen of which were acquired by JMKAC. Each image depicts a member of Sheboygan’s local HMong American community. More than a historical record,&nbsp;Seeds of History&nbsp;honors the enduring presence and vitality of the HMong diaspora in Sheboygan more than fifty years after HMong refugees first arrived in the region. By naming each individual portrayed, the series centers dignity, care, and connection—affirming that history is shaped by real people and relationships, not anonymous figures or statistics. * HMong is written with a capital H and M to be inclusive of White HMong and Green Mong dialects. Speakers of the White dialect pronounce “HMong” with a silent “H,” indicating a nasal aspiration or puff of air out of the nose. Speakers of the Green dialect pronounce “Mong” without. <a rel="noopener noreferrer" href="https://www.jmkac.org/exhibition/pao-houa-her-seeds-of-history/" target="_blank">Discover Seeds of History</a>&nbsp;

Pao Houa Her:  Seeds of History

This Saturday March 14th, from 3:00 to 6:00 p.m., Addington Gallery will be participating in the River North gallery walk. We are opening a fantastic new exhibition, "Learn to Love", new mixed media work by Teresa James. Meet The artist, refreshments served! While still referencing the materials and techniques of her printmaking background, Teresa's current works are the result of a variety of techniques. She begins by adapting and repurposing historic impressions of maps, animals, and nature, layering and collaging them onto a variety of vintage book covers. The resulting geometric compositions provide a weathered, narrative field, a dimensional receptive site for her imagined, hand drawn figurative imagery, including her personal recurring iconography of winged hands. These hands seem to embody an expressive and creative power. The wings, delicate and mystical, whisper the possibility of a fluid mobility between worlds. The act of juxtaposing these images and blurring distinctions between techniques results in a series of shifting realities at once scientific, observational, and intimately spiritual.

Teresa James: Learn to Love

On View: April 2-24Reception and Awards: April 9, 7pmGallery Talk with Prize Winners: April 22, 2pm The President’s 18th Annual Art Exhibition highlights the top artwork from Lewis Students and Alumni. This important juried exhibition is hosted by the Department of Art and Design and sponsored by Dr. David Livingston,President of Lewis University. Image Description:&nbsp;Electric Madonna, oil on canvas by Annabelle Makselan, First Place 2025

Gallery Talk with Prize Winners: The President’s 18th Annual Art Exhibition

Reception and Awards: April 9, 7pmGallery Talk with Prize Winners: April 22, 2pm The President’s 18th Annual Art Exhibition highlights the top artwork from Lewis Students and Alumni. This important juried exhibition is hosted by the Department of Art and Design and sponsored by Dr. David Livingston, President of Lewis University. Image Description:&nbsp;Electric Madonna, oil on canvas by Annabelle Makselan, First Place 2025

The President’s 18th Annual Art Exhibition

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

B. Ingrid Olson: All Lock No Key

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

Robert Nickle: Collages 1966-1979

Forget Me Not&nbsp;features 10 emerging and mid-career Chicago-based artists who showcase the city's burgeoning creative talent and diversity: Mikey Coleman, Stevie Connor, Rex Delafkaran, Bailey Ellens, Bianca Pastel, Alayna Pernell, Juan Molina Hernández, Kitty Rauth, Selma Suleiman, and Marlon Tobias, all of whom broadly reflect on themes of place, home, belonging, and community. Curated by School of the Art Institute of Chicago (SAIC) Arts Administration and Policy graduate students Serena Fox, Isabelle (Izzy) Jaeggin, Tia Lowe, and Helena Rodriguez, in collaboration with Epiphany Center for the Arts, the exhibition presents a diverse range of artistic practices, including installation, photography, ceramics, and sculpture, with fiber, collage, and painting.&nbsp; Throughout these works, “home” appears not as a fixed location, but as an evolving terrain defined by the act of remembering. Some of the featured artists render these ideas tangibly through their usage of objects, materiality, and the natural world. Others probe the emotional and psychological landscapes of nostalgia and childhood. Characterized by movement and diaspora, these artists draw on archival material, ancestral traditions, and cultural motifs, grounding their work in practices of preservation.&nbsp; Forget Me Not&nbsp;highlights both the tension and interdependence between individualism and communal belonging. Together, these artists offer an assemblage of perspectives on how we ground ourselves in the world: through ritual, storytelling, connectivity, joy, and resistance. We invite viewers to consider the power of the collective and how, despite our differences, we all find ourselves here, together.

Forget Me Not

Ringleader&nbsp;is a collaborative furniture design project by artists Noël Morical and Mat Mancini, forged at the intersection of sculpture, utility, and irreverent joy. Rooted in their independent studio practices, the duo merges Noël’s intricate macramé technique with Mat’s materially layered, collage-based approach to create hybrid objects that are as functional as they are fantastically whimsy.The collaboration merges through a heart-to-heart between handcrafted and industrial construction. Noël's use of richly colored paracord—knotted, braided, and tensioned—introduces a tactile softness and sculptural rhythm to the work. Her practice draws from the language of textiles and body adornment, reimagining traditional macramé within a contemporary design context. Chairs, tables, and lighting elements become vessels of texture and intimacy—each loop and knot a deliberate gesture toward intentional care and geometric complexity.In parallel, Mat brings an eclectic material and cultural vocabulary drawn from cast forms, welded steel display systems, resin-infused prints, and 1990s pop-cultural motifs. Splicing structure with spirit, his practice grazes the edges of contemporary furniture’s conventions, guided by an irreverent yet lyrical sensibility. His surfaces feel both archival and futuristic—evoking suburban skate parks,color block fashion, Greco-Roman columns, and the visual clutter of mischievous, meaningful adolescence.Together, their work percolates between design, sculpture, and play—producing objects that are performative, customizable, and unapologetically personal. Whether it’s a chair that functions like a stage prop or a lamp that behaves like a wearable artifact,&nbsp;Ringleader&nbsp;treats furniture as a site of experimentation: a place where memory, humor, tactility, and utility converge.Noël Morical (American, b. 1989) lives and works in Chicago IL. She received her BFA from The School of the Art Institute of Chicago in 2011. Morical is a multidisciplinary artist interested in organizing color, coded experience, and craft techniques.&nbsp;Mat Mancini (b. 1987, Philadelphia) lives and works in Chicago, IL. MFA The School of the Art Institute of Chicago, 2014. BFA Rutgers University, 2010. Recent shows include Peana Projects in MX, Little Berlin in PHL, HG INN, Julius Caesar, Paris London Hong Kong, and LVL3 in CHI.

Noël Morical and Mat Mancini: Ringleader

Whether shooting from the vast wilds of Alaska, or the familiar Chicago alleys of her hometown, Alexa Viscius manages to create film portraits that feel like peering into a keyhole. Candid shots reveal coveted glimpses of beloved musicians: like New York Phenom Cameron Winter making adjustments to his musical arrangements backstage before his monumental solo performance at Hyde Park’s Rockefeller Church, or the sensational young Chicago band Horsegirl, running down a hill with a certain excitement and teenage-abandon of a group on the cusp of their breakout record, or a contemplative moment shared between longtime friends and prolific Chicago indie rockers Max Kakacek and Julien Elrich of Whitney, sitting in Kackek’s grandparent’s bedroom in Portman, Wisconsin. Many of her portraits, taken at her longtime studio in the historic Flatiron building in Wicker Park Chicago, retain that same sense of tenderness: A portrait of renowned New York musician, and frequent collaborator, Adrienne Linker of Big Thief, displays a sense of intimacy and trust. It’s a trust that has been earned through 20+ years of mastering her craft, allowing her subjects to open up, revealing themselves like flowers. From legendary Chicago DIY venues of yore, to international stages and all those quiet moments in between, she’s been there thru it all, with her finger on the shutter, capturing the music and the people that make it. Alexa Viscius is a Chicago based photographer with a focus on music portraiture, working primarily on film. She received her BFA from the University of Illinois at Chicago in 2011. Her work has been featured in The New York Times, Paper magazine, W magazine, and other publications. She is a recipient of the Abbey Road Music Photography Award for the Editorial category in 2024.In addition to her photography practice, Viscius is an award winning graphic designer and plays bass in the Chicago indie rock band Bnny. She lives in Chicago with her husband Adam and their son Arthur.

Alexa Viscius: Portraits of People Who Make Music

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

Nyeema Morgan: take my wife…PLEASE!

“Something Old, Something New, Something Borrowed, Something Blue” is an exhibition of select works from Chicago artist Ben Foch that span the past 20 + years of his making. Some works are from the early 2000’s, never before exhibited seminal beginnings. Some works are from the 2014-2018 era, created after the 1st and 2nd incarnations of his artist-run project space New Capital, and of course, something new from 2026 will be selected.Cinderella, Dracula, Raiders Logo, Scotch Tape Plaid, Newport cigarettes, Tupac Shakur; these are some of the source content(s) that generate an origin narrative for the painting practice of Ben Foch. It could appear to be a contemporary interpretation of a Pop Culture narrative in art, and in the sense that Foch is engaged in discovering and/or defining an avant-garde in the 21st century, it is. Yet, his work, now in its mid-career mature phase, finds its roots in the 1960’s and 70’s Conceptual practices of On Kawara, Roman Opalka and Olivier Mosset. The only difference being the veneer.This exhibition is a meditation on and a celebration of life dedicated to making. It’s important to tell our stories; to ourselves, so we can know who we are, to each other, so we can know one another, and to share them with the world at large, so we can manifest our being through shared acknowledgements of time and space. Stories can be told in many ways. This exhibition is an accounting that reflects one artist through a curated look of their past in the present.We are the stories we tell ourselves.<a rel="noopener noreferrer" href="https://mleblancchicago.com/ben-foch" target="_blank">Ben Foch</a>&nbsp;(b. 1977) is an artist based in Chicago. He grew up in Park Forest IL., attended The School of the Art Institute of Chicago (BFA 1995-2000), co-founded the artist-run exhibition space New Capital (2010-2017) and is represented by M. Leblanc.&nbsp;Recent solo exhibitions of Foch’s work include Proof Of Werq (2024) and Hood Ornament (2021) at M. LeBlanc in Chicago, IL, Haiku (2019) at Selenas Mountain in Brooklyn, NY, Full Grown (2018) at Efrain Lopez Gallery in Chicago, IL, and Of Human Bondage (2018) at Roots and Culture in Chicago, IL. Foch’s work has been recently included in group exhibitions such as The Highest Level of Listening (2025) curated by Olivia Swider at Gure, Chicago, IL., Miniotics (2025) curated by Trinity Bavaria and Gunner Dongieux at Weatherproof, Chicago, IL., Tricky Passage (2022) curated by Ben Gill at Rhona Hoffman in Chicago, IL, Ugly Feelings (2016) curated by Karolina Gnatowski at Side Car Gallery in Hammond, IN.

Ben Foch: Something Old, Something New, Something Borrowed, Something Blue

Parallel Acts: A Practice of Staying brings together two practices that understand gesture as a durational condition rather than a singular event. In both bodies of work, movement is sustained over time, and repetition becomes a means of transformation rather than reproduction.In Shin’s ongoing series, Pas de Deux, Soo Shin constructs a buoyant vessel that floats in the Pacific Ocean while tethered to her body. Paper and pigmented wooden balls move freely within the structure, allowing ocean currents to register motion across the surface. Gesture emerges through sustained presence and shared agency between body, material, and environment, recorded as residue over time rather than intention.Tim Stone’s works are formed through repeated return to a single drawing. By tracing and retracing his own marks over extended periods, he allows accumulation to alter the surface. Through accumulation, the surface slowly transforms: compression builds, sheen develops, and the drawing shifts toward another material state. Staying with the same gesture becomes a means of altering both surface and substance.Placed together, these practices unfold as parallel acts of staying—where movement persists, time accumulates, and matter becomes the record of duration.<a style="color: rgb(17, 85, 204);" rel="noopener noreferrer" href="https://www.sooshin.org/" target="_blank">Soo Shin </a>(b. Seoul, Korea) is an interdisciplinary artist based in Chicago. She received the Northern Trust Acquisition Award (Pennsylvania Academy of the Fine Arts) at Expo Chicago and has been awarded fellowships from the Loghaven Artist Residency (Knoxville, TN), the Djerassi Resident Artists Program (Woodside, CA), the Vilcek Foundation Fellowship at MacDowell, and the Illinois Arts Council Artists Grant. Her work has been exhibited at Block Museum (Evanston, IL), Ohio University (Athens, OH), PATRON Gallery (Chicago, IL), The Rivalry Projects (Buffalo, NY), The Luminary (St. Louis, MO), Goldfinch Gallery (Chicago, IL), Chicago Manual Style (Chicago, IL), LVL3 (Chicago, IL), and the Chicago Artists Coalition (Chicago, IL), among others. She has also completed residencies at the John Michael Kohler Arts Center (Sheboygan, WI) and Ox-Bow (Saugatuck, MI). Shin holds an MFA from the School of the Art Institute of Chicago, as well as both an MFA and a BFA from Ewha Womans University in Seoul, Korea.<a style="color: rgb(17, 85, 204);" rel="noopener noreferrer" href="https://www.circlecontemporary.org/artists/88-tim-stone/works/" target="_blank">Tim Stone</a> was born in Park Ridge in 1973, where he grew up living with his family. Over the years, Stone has created an expansive and cohesive body of work across media, including graphite, watercolor, and acrylic. For the past few years he has focused primarily on grayscale drawings of loose grids in graphite, with titles that hint at personal inspirations. Focused and methodical in his practice, he maintains a diligent studio routine and steadfast artistic vision informed by concepts of abstraction. Stone’s process is driven by labor-intensive, repetitive mark-making that burnishes the graphite and slowly wears away the surface of the paper over time. He’s also an active member of the curatorial committee, assisting guest curators with exhibitions at Circle Contemporary featuring studio artists alongside artists from the broader contemporary art community.

Parallel Acts: A Practice of Staying | Soo Shin and Tim Stone

Through the investigation of personal histories, familial ancestry, and the weight of place, the six ACRE alumni artists in&nbsp;tether me to the ground or let me float&nbsp;consider how we gather fragmented ideas of place and identity to piece together notions of belonging and grounding.&nbsp;Grounding becomes a means of navigating obscured histories and solidifying ourselves, our ancestors, and our communities to a place.&nbsp;tether me to the ground or let me float&nbsp;examines how we ground ourselves within our own histories and how we become informed and infused by the places we occupy.&nbsp;The exhibition questions the complexity of home, the relationship between the environment and the body, and the fragility of temporalities. Molded and shaped by the landscapes that surround them, the artists in the exhibition explore the multifaceted, imperfect, and often difficult undertaking of building an ecology of belonging that radically imagines our relationships to the ongoing history of a place.&nbsp;Unearthing and breaking down these relationships, the artists reflect on space in relation to memory, migration, community, and spirituality. They consider the tangible traces of our presence and the ephemeral quality of the personal and ancestral histories that both tether and release us from the places we pass through and remain in. Place and home become at once stark and ephemeral in these narratives, inviting the viewer to imagine how we locate and ground ourselves within these complexities. Featured Artists:&nbsp;Prerna, Colin Martinez, yétúndé ọlágbajú, Lars Shimabukuro, Ian Solomon, Shirin Towfiq&nbsp;Curated by&nbsp;Gemma KimACRE (Artists’ Cooperative Residency and Exhibitions)&nbsp;is an artist-run non-profit devoted to providing resources to emerging artists and nurturing a diverse community of cultural producers. ACRE’s programs support this generative community with materials, equipment, expertise, conscientiously produced food, and opportunities to exhibit and share work.&nbsp;ACRE’s annual summer residency in rural Wisconsin brings together emerging artists to live and work in a communal setting. A corresponding year-long program of exhibitions and events based in Chicago creates ongoing opportunities for idea exchange, feedback and growth. Programs such as ACRE Projects, ACRE Kitchen, and ACRE TV, provide additional venues for collaboration and experimentation.ACRE aims to be a leader at advancing new means of support for emerging artists at critical junctures in their careers. ACRE eschews focus on traditional institutional success, instead prioritizing the unique, individually-defined paths of artists.

Calendar

Chicago Gallery News